Nora Awolowo

When Nigerian cinematographer Nora Awolowo was young, watching films was a collective experience with family and neighbours. "I grew up watching Yoruba films," she says. "My interest in storytelling probably developed from when we would gather together to watch movies or a TV series."

Growing up in Alimosho, Lagos, Nora was raised by her aunt in a house full of photo albums while her parents worked away. On a visit home, her dad brought Nora a point-and-shoot camera. "He wanted us to preserve memories," she says. "I was really happy that I was the one who had a camera in the family, but it was never something I thought of pursuing professionally."

Nora practised her craft photographing everything from events to weddings, funerals to portraits, but hadn't found her passion. It was when she saw friends working in Nollywood – Nigeria's film industry, the second largest in the world – that she considered cinematography. "I started shooting behind-the-scenes videos for films," says Nora. "I would shadow the cinematographer and see how it was done." One day, a filmmaker wasn't available, and Nora was asked to step in. "That was when I thought, 'Wow, I could do this.'"

Today, Nora is breaking records as a young female filmmaker at the centre of Nollywood, shooting feature films, short films, documentaries and branded commercials, including for Netflix. Aged just 19, she set up her production company, Rixel Studios, which has released two feature films – the critically acclaimed Red Circle (2025) and Black Market (2026). "I enjoy being on set and knowing we are all coming together to make something great," says Nora. "Nigerian filmmakers are telling stories that are relatable to them."

Nora films with a combination of the Canon EOS C400, EOS C80 and EOS C70. "The colour science matches all through," she says. "The EOS C400 is now my go-to cinema camera for films." Her short film What Are You Truly Afraid Of? (2024) was shot on the EOS C80, and Racket Queen (2025) was shot on the EOS C400.

Trailblazing as a woman in the industry hasn't always been easy. "You can count the number of female cinematographers in Nigeria on one hand," says Nora. "What that meant is that the journey was lonely. There was no one to ask for advice and you have to withstand whatever comes your way. My career has given me validation that this work is possible. I hope it can be inspiring to other women, who can say, 'If Nora could have this career, I can too.'"

What does film mean to you?

"I tell people that film is forever. I grew up watching veteran Yoruba filmmakers such as Tunde Kelani; Saworoide (1999) was a classic that I held to my heart. You don't remember who shot your favourite ads on TV but you remember Ryan Coogler for Sinners (2025). Film gives you that legacy and credibility. That was why I said I wasn't going to do things that got erased after a year. I started thinking about what my legacy would be. What do I want people to attach to me? From there I knew I was going to stick with film."

What were your impressions of your first film set?

"Film is a very collaborative journey. I went into it wanting to be a cinematographer, but when I went on a film set for the first time, I saw that it takes a village. It was not just the cinematographer, but the director and the scriptwriter, the assistant director who runs the day, the sound person and the gaffer. Even if you are doing a short film with a minimal crew, you have at least 20 people. I was excited about it because I knew two heads were better than one, so imagine six or seven heads coming together."

Why do you think Nollywood has developed into such a thriving and creatively rich industry?

"Nollywood works because Nigerians want it to work. It started with moving theatre, where people would pay to see performances, and now it has become very digital. People release films on YouTube every day. We have over 200 million people in Nigeria, so there's an audience to cater to. It's an industry that has thrived on private money because, unlike in Hollywood, there isn't big infrastructure or governmental backing."

What piece of Canon kit can you not live without, and why?

"When the Canon EOS C80 came out, I thought the full frame was really nice. You have in-built ND filters and the great dynamic range and colour science. The triple base ISO means that in low light, I can bump up my ISO and there is no grain on the screen, which is really cool. My favourite focal length is 35mm as it gives me the comfort to do anything – moving shots, close ups, and you can also take it as wide as possible without it getting distorted. On any lens, 35mm is always my sweet spot. If I could only work with one lens, I would choose my Canon RF 35mm F1.8 MACRO IS STM."

What else could we discover in your kitbag that helps you elevate your work?

"When there is downtime on set, I read a book. With so many screens – phone, laptop, iPad – I actually want something to hold. I'm currently reading A Good Name by Yejide Kilanko. For me, it's an escape. I'm putting myself in a character's position and building my own visual idea. There's a whole world that I'm thinking of visually just by reading a book."

"The way I work is that I always want to leave with excellent feedback. In a patriarchal society, as a woman, before you are given a job you have to work twice as hard as the average man. I don't want to falter and for that to affect the next girl who wants to be a cinematographer. I want to leave a very good impression on every project and know that others can follow in my footsteps."

Website: rixelstudios.com

Instagram: @noraawolowo

YouTube: Rixel Studios