Resumo

This paper examines Ebun Pataki (Damilola Orimogunje, 2018) as a key case for understanding cinematography as a strategy of distinction in contemporary Nigerian cinema. Drawing on Pierre Bourdieu’s theory of cultural production (1996), I argue that visual form—particularly as developed through the creative collaboration between director and cinematographer—serves as a tool for position-taking within a contested cinematic field. The film departs from the aesthetic and industrial logic of mainstream Nollywood and New Nollywood, aligning instead with what Jamaican curator Nadia Denton has termed “Beyond Nollywood”: a constellation of low-budget, author-driven films that circulate through international festivals and curated streaming platforms, often remaining peripheral to Nigerian commercial screens. Grounded in an interview with cinematographer David Wyte conducted in Lagos (2024), the paper explores how visual choices—such as long takes, soft lighting, and controlled composition—emerge from a collaborative process that contrasts with industrial production dynamics. These decisions shape the film’s tone and reinforce its symbolic position in the Nigerian film field. By placing Ebun Pataki in dialogue with other Beyond Nollywood titles such as B for Boy, Eyimofe, and Mami Wata, the paper explores how cinematography operates as both an aesthetic gesture and a statement within systems of cultural legitimacy. The analysis contributes to broader discussions about authorship and recognition in African cinema, foregrounding the role of cinematographic choices in reshaping the visibility and circulation of Nigerian films.