Wingonia Ikpi is a Nigerian filmmaker and creative founder passionate about telling deeply human African stories that resonate beyond continental borders. As the founder of Boxonia Blueprint, a film production company, she leads a collective of creative talents shaping authentic, fresh perspectives on African identity through film and visual storytelling.
Her work blends authentic narratives with visual poetry, a signature that defines her creative voice. With notable projects like The Lost Days, her directorial debut, and Son of the Soil, a global action thriller, Wingonia Ikpi has established herself as a talented filmmaker with a unique voice.
In this interview with IFEOMA OKEKE-KORIEOCHA, she shares her insights on filmmaking, cultural relevance, and the future of African cinema.
What drew you to the film industry, and how has your journey shaped your approach to storytelling?
My draw to the film industry was rooted in my love for stories and their power to shape perception. Growing up, I was surrounded by untapped narratives, and I felt a compelling need to be the one to tell them. My journey hasn’t been a straight line. It has been a mosaic of experiences, from navigating various
roles such as writing, story development, directing, producing, talent management, casting, business management, finance management to now leading a company. This path has instilled in me a holistic understanding of filmmaking. I don’t see a story in isolation from its production needs or its market viability, literature does not exist in a vacuum. My approach is therefore integrated; it’s about building a story from the ground up, ensuring that the creative vision is supported by a solid operational and strategic foundation.
Can you share a pivotal moment in your career that taught you the importance of discipline in creativity and production?
A pivotal moment that truly cemented the importance of discipline for me was the production of my directorial debut film, “The Lost Days”, which has earned me a nomination for Best Debut
Feature Film by a Director at the forthcoming African Movie Academy Awards, (AMAA 2025). We approached it with a level of intentionality and structure that was, at the time, my most
disciplined effort yet. Every detail was meticulously planned, with the schedule built around capturing the best possible performances without rushing the actors, to ensure we could achieve the desired visual and emotional appeal without compromise.
The success of “The Lost Days” and the way it connected with audiences proved to me that discipline is the ultimate enabler of creativity. It is the framework that protects the vision and allows you to deliver on the promise of your story. That experience solidified my philosophy: that the most profound creative expressions are always built upon a foundation of rigorous production discipline. Our nominations at AMAA proves this.
How do you balance vision and execution in the Nigerian film industry, where challenges can be unpredictable?
The “Nollywood factor” is very real. You can have the most brilliant vision, but you must be prepared for the unpredictable, from power problems to last-minute location issues. The balance
comes from what I call “structured flexibility.” Understanding that every plan should have a contingency, whilst still maintaining structure, is the way to combat unforeseen challenges.
The vision is our non-negotiable North Star. It’s the emotional core and the message we are committed to delivering. The execution, however, must be agile. We anticipate potential hurdles in pre-production, which allows us to adapt without panicking when they arise. This way, we protect the core of the story while being smart and nimble in our approach to the challenges. The goal is to let the vision dictate the execution, not let the execution dilute the vision.
Your transition from production to directing seems seamless. What inspired this shift, and how do you manage both roles?
Thank you for saying it seems seamless. I started as a writer and, over time, found myself developing a stronger point of view. I wanted to tell specific stories in specific visuals and emotional
languages, and directing became the necessary next step to fully realise that.
As a producer, you are already deeply involved in the storytelling process, you are managing the resources to bring a director’s vision to life. The roles are symbiotic. My producer’s mind makes me a more efficient director. I am always aware of the realities of production in Nigeria, such as budget and schedule restraints. Conversely, my director’s heart ensures that as a producer, I never lose sight of the creative soul of the project. It’s about wearing the best hat for each different project.
You’ve mentioned that filmmaking is about structure and intention. Can you elaborate on this philosophy and how it guides your work?
Absolutely. This is the core of the “Blueprint” in Boxonia Blueprint. Structure refers to the tangible
framework that runs from ideation to principal photography, post-production, distribution and marketing phases of a project. Intention is the “why” behind every creative and operational decision.
Why this camera angle? Why this colour palette? Why this character arc? Why this costume? My philosophy is that every single element in a film must be intentional and must be supported by
a structure that allows that intention to be realised. A poignant scene loses its power if the sound is bad because the structure for proper sound recording wasn’t in place. Instead of hoping to fix it
in post-production, we start by ensuring good sound is planned for and captured during principal photography. We start every project by defining our core intentions: what do we want the audience to feel and learn? And then we build a meticulous structure around it. This ensures that our work is purposeful
art.
What was the vision behind founding Boxonia Blueprint, and how do you see the company evolving in the next few years?
The vision was to tell audacious, authentic and exportable art forms to global audiences through African talent.
In the next few years, I see Boxonia Blueprint evolving into a formidable creative ecosystem that shapes African productions. Our expansion is focused on commanding larger budgets and more ambitious international co-productions, all while maintaining the authentic core of Africanflavoured storytelling. The growth of our talent division is critical to this; it will become a selfsustaining engine for discovering and developing the very creatives who will drive this new chapter of global storytelling. Fundamentally, our system is designed to secure and manage funding for all aspects of filmmaking from initial content development through to post-production, ensuring our projects are fully realised to their highest potential.
How does Boxonia integrate creativity, operations, and cultural relevance in its productions?
We see these three elements not as separate departments, but as a single, intertwined philosophy. It begins with a spark of creativity, a story that demands to be told. Then we ground that spark in the rich soil of our cultural relevance, asking if the narrative speaks with an authentic voice and reflects the nuanced realities of the African experience. This ensures the story has a soul and a purpose, and then we build the operational framework around that soul.
A perfect example is our project Son of the Soil. While directed by a British-Chinese filmmaker, the film is profoundly and authentically Nigerian in its flavour and truth. This was by design.
Every logistical decision, from budgeting to scheduling, was made in service of protecting that creative vision and its cultural integrity. It’s a holistic process where the production schedule is designed to capture the perfect performance, and resources are allocated to honour the cultural specifics and nuances of the story.
In this way, creativity defines our ambition, cultural relevance ensures our authenticity, and operational excellence guarantees our execution. They are the three essential threads we weave
together to create a single, strong tapestry.
Can you share some case studies of successful projects, such as “The Lost Days” and “Son of the Soil,” and what made them stand out?
Certainly. Our projects, though different in scale, share a common thread of intentionality. With “The Lost Days,” we set out to craft a narrative that lived and breathed in the quiet, intimate spaces of a fractured relationship. The entire production was built around this goal;
our focus was on cultivating an atmosphere where raw, nuanced performances could flourish.
We prioritised the actors’ process and the emotional truth of each scene above all else. Its success, I believe, comes from that unwavering commitment to emotional honesty. It’s a film
that proves the most powerful stories are often the quietest ones, the ones that linger in your mind long after the screen fades to black.
In contrast, “Son of the Soil” presented a different challenge: balancing a thrilling narrative with a deeply personal heart. Operationally, it was a complex undertaking with a sprawling cast, diverse locations, and dynamic action sequences. Yet, the core intention was always to anchor this scale in a profoundly Nigerian story of justice, resilience, and a man’s tether to
his land. The film stands out because it never allows the spectacle to overshadow the soul; the thriller elements serve a story that is, at its core, about community and belonging. It demonstrates that even with ambition and scale, the story must always be grounded in a truth that resonates.
How important are industry collaborations for Boxonia?
They are vital. Boxonia Blueprint provides comprehensive production services, from ideation to marketing, but we do not operate in isolation. Filmmaking is a collaborative art form by nature, and we extend that spirit to the business side. No single company has a monopoly on talent or ideas. We actively seek collaborations with other production houses, distributors, and platforms, both within Nigeria and internationally. These partnerships allow us to pool resources, share expertise, and take on more ambitious projects that can elevate the entire industry. We believe that a rising tide lifts
all boats.
This philosophy was highlighted for me during a conversation with a producer from England. She asked if Nigeria had a dedicated film fund for story development, a common resource in many territories. I had to tell her we did not. It is precisely these kinds of structural gaps that Boxonia Blueprint seeks to identify and fill. Our collaborations are not just about making a single project, but about building the foundational support systems, be it through production funding, talent
incubation, or knowledge exchange, that will allow the Nigerian industry to compete and collaborate on a truly global scale.
What inspired you to establish a talent division within Boxonia, and what kind of creatives are you looking to nurture?
The inspiration came from my own journey and the clear need for a more structured pathway for established, rising and emerging talent. I benefited from guidance and opportunities, and I see Boxonia Blueprint as a platform to pay that forward. We saw a gap not just for newcomers, but for established and rising talents who need a strategic
partner to help them navigate the next phase of their careers; whether that’s transitioning to larger projects, exploring international co-productions, or refining their unique voice for a global market.
We are looking for more than just skill; we are looking for voice and discipline. We are looking for creatives who are not just passionate about being in the industry but committed to the hard work
of building a sustainable career and contributing to the growth of Nollywood.
Can you walk us through your approach to talent development, and what skills do you prioritise in emerging creatives?
The skills we prioritise are a blend of the artistic and the professional. We also focus on strategic self-presentation, from mastering the craft to building persona. Ultimately, we are nurturing more than just performers; we are developing resilient, self-aware artists who possess the business acumen to build lasting and impactful careers.
What advice would you give to young creatives looking to break into the industry, and how can they benefit from Boxonia’s resources?
My advice to aspiring filmmakers would be to build a foundation and understand the business of filmmaking. Aspiring creatives can benefit from Boxonia by engaging with our online platforms, like the website and social media, to understand our standard of quality and our ethos. We have a number of
interviews where our rising talents, Taye Arimoro, Durotimi Okutagidi, Cynthia Clarke, Chuks Joseph, and Miss Ezeani all share their craft journeys. We will also make a couple of announcements
about open calls for submissions, internships, or workshops on these platforms.
