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Faraday Okoro, director. Nigerian Prince. 2018. 104 minutes. English and Igbo. Nigeria and United States. Vertical Entertainment. Streaming on Netflix. No price reported.

The film Nigerian Prince was written and directed by Faraday Okoro, a Nigerian-American based in the United States, and funded through US sources. In terms of its technical quality, notably its picture and audio quality, it is quite wellmade. Thefilmwas shot largely inNigeria, and the setting of the scenes, particularly those at the airport, contribute a level of authenticity to the story. Nigerian Prince tells a compelling story. Eze, a Nigerian American teenager, reluctantly comes to Nigeria for what he believes is a short stay with his aunt. Upon realizing that his mother has deceived him, and that he is meant to remain in Nigeria for a much longer period, he turns to his cousin Pius for help in getting back to America. Pius is a fraudster who is involved, among other fraudulent activities, in the advance fee email scam, popularly referred to as the Nigerian prince scam, from which the film derives its title. The film’s positioning as a Nollywood product is debatable, as the film appears to lack that self-reflection that Nollywood films typically embody. According to O. Okome (“Nollywood: Spectatorship, audience and the sites of consumption,” Postcolonial Text 3 (2), 2007), “One of the characteristics that marks Nollywood as an autonomous local cinematic expression is that it looks inward and not outward.” C. Okoye (“Looking at Ourselves in our Mirror: Agency, Counter-Discourse, and the Nigerian Video Film,” Film International (28), 20–29, 2007) refers to this as “one of the truly successful strategies in the postcolonial agenda of constructing a sovereign framework.” The viewpoint of Nigerian Prince is outward-looking, in that the stories of Eze and Pius appear to be told from the outside and for outsiders. As a consequence, the film falls into the trap of what Chimamanda Adichie refers to as the single story: “The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete” (“The danger of a single story” [Video], TED Conferences, 2009). While it is true that corruption is a reality in Nigeria, it is not the sole reality, which is the main impression that the film leaves its viewers with.