When explaining why they chose British-Nigerian filmmaker Akinola Davies Jr. as the international guest of honor at this year’s Projeto Paradiso National Talent Network gathering in Recife, the initiative’s executive director Josephine Bourgois said it was because Davies Jr’s “My Father’s Shadows” is a film that “could have been made by a Brazilian filmmaker.” This feeling was confirmed over the director’s visit to the Northeastern capital, where he showed his BAFTA-winning film at the imposing Cinema São Luiz.
“I had never seen my skin tone shot like [it],” said director Stefano Volp following the busy Saturday night screening. “‘My Father’s Shadow’ brings such a poetic and honest experience about masculinity, and particularly Black masculinity, to Brazil,” echoed filmmaker Fernanda Lomba. “Akinola bravely and generously weaves a fabulous patchwork of memory, private life, and Nigeria’s history. We have a lot to learn from this filmmaker’s gentle radicality [in Brazil].”
In a conversation with lauded Brazilian screenwriter Jaqueline Souza earlier in the week, the Davies Jr. mentioned how he realized in the last few years that there is a “big bridge between Brazil and Nigeria that maybe a lot of Nigerians are not cognizant of.” “We share a lot within our spirituality, the way we see the world, food, and politically as well.”
‘My Father’s Shadow’
Credit: Cannes Film Festival
Speaking with Variety at the event, the director recalls first visiting Brazil a few years ago and going to Rio de Janeiro to see landmarks such as Christ the Redeemer and Copacabana Beach. “But everybody I met kept telling me I needed to go to Salvador. When I finally visited, it was almost like a psychedelic experience. It was one of the most striking feelings I have ever felt. It was like a fever dream; everything felt so vivid. I was there for maybe four or five days. When people describe ‘My Father’s Shadow’ as a fever dream, this is how I felt about Salvador.”
With “My Father’s Shadow” being released in Brazil at the end of the month, Davies Jr prepared a special treat for the city he felt so connected with: a screening with live score performed by the film’s musicians, Duval Timothy and CJ Mirra. Since the drama is being distributed by Filmes da Mostra, the distribution arm of the Mostra de São Paulo, Davies Jr is also taking the event to the city where he held the Brazilian premiere back in October.
“I remember telling my Brazilian distributors once we struck a deal to show the film in Brazil that it would be incredible to have a proper premiere in Salvador,” adds the director. “I wanted to do something with the film in the city. I wanted to give the audience in Salvador something that felt truly special.” As for the São Paulo screening, the filmmaker called it a “gesture of our appreciation for having the film housed within such a fantastic, prestigious festival.”
The director’s time in Brazil is being captured by a duo of documentarians working on a special short film about how “My Father’s Shadow” resonates in Brazil. Director Lucas Crystal and cinematographer Henrique Alves first approached the British-Nigerian filmmaker at the Mostra de São Paulo, and have been closely following him on his latest visit.
“We thought about making a documentary when we realized that Akinola’s journey through Brazil would mimic that of Brazilians themselves, starting in the Northeast and going all the way down towards the south,” says Crystal. “We felt there was a poetry in this geographical mirroring, and we wanted to tell audiences about this bridge between Brazil and Nigeria, one we didn’t even know existed before meeting Akinola at the Mostra.”
The filmmaking duo says their film will be even more relevant given that Brazil will hold presidential elections at the end of the year. “Akinola’s film is very political and can talk to audiences at this key moment in our political history. We are about to make a choice that will define life for generations of Brazilians,” emphasizes Crystal, with Alves adding that films like “The Secret Agent” and “I’m Still Here” have opened a national appetite for political stories, but there’s still a lack of Black-focused and Black-led political narratives. “As a Black filmmaker, Akinola’s work spoke directly to me in a way Brazilian films haven’t in a while.”
LONDON, ENGLAND: Akinola Davies Jr. accepts the Outstanding Debut by a British Writer, Director or Producer Award for ‘My Father’s Shadow’ on stage during the EE BAFTA Film Awards 2026 at The Royal Festival Hall on February 22, 2026 in London, England. (Photo by Stuart Wilson/BAFTA/Getty Images for BAFTA)
Getty Images for BAFTA
With such a special connection to the Latin American country, would Davies Jr. ever embark on a Brazilian co-production? “Absolutely, I’d love to,” he says immediately. “It would be incredible to figure out the right relationship. I’ve met incredible Brazilian producers and filmmakers and everybody has been really generous and clever. I am sure when the time is right and the perfect opportunity arises, one hundred per cent, I’d love to work with Brazil. There is a bridge to be built. There is a big Brazilian community in Lagos, so hopefully we can find the right story for co-production. I am completely open to it.”
And the feeling is mutual when it comes to the Brazilian counterparts. Lomba, a filmmaker who works directly with strengthening the presence of Black creatives in Brazilian cinema through Nicho 54, says Davies Jr.’s visit to Brazil is “part of a certain Black zeitgeist, a moment where creative and business connections are heating up between Brazilian and African filmmakers thanks to a shared cultural imaginary. I believe we are witnessing the beginning of a long-awaited collaboration.”
To Davies Jr., being able to connect with the diaspora is even “more important” than he realized while making his film. “The response to the film has been overwhelming. When you make an authentic piece of work, people in the diaspora can resonate with the film regardless of where they are. I think we need to see more of each other’s films. I think there needs to be a lot more collaboration and a lot more sharing of resources, concepts and ideas between filmmakers.”
“I think for so much of the world, especially the Anglophone world, we look towards the U.K. and the U.S. and suddenly that seems to dominate the conversation, but there is a huge underserved Francophone community, there’s a Caribbean community, a Latin American community… We just need to figure out more ways of connecting.”
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