Tell us a little about yourself…
My name is Justyna Obasi. I’m an Polish-Nigerian Emmy-nominated film director based in Nigeria. My work focuses on creative storytelling with authentic characters, often music driven. I have directed global campaigns for brands such as Nike, Tiffany & Co., Adidas, Meta and Google. I’ve also had the opportunity to collaborate with artists including Chloë Sevigny, Jay-Jay Okocha, Adria Arjona, and Oumou Sangaré.
My international recognition grew with Skate Nation Ghana, which received numerous awards, including five D&AD Pencils, a British Arrow, a Gold Clio, the Grand Prix at CICLOPE Africa, a Silver Lion at Cannes, and four top honours at AICP. The film was permanently archived at the Museum of Modern Art as the Best Advertising Campaign of 2022.
Most recently, my short film Ritual premiered on Nowness. We shot it in Lagos with a Lagos-based team, which was especially important to me.
What inspired you to become a filmmaker, and how has your heritage influenced your work?
From a young age, I was always drawing, painting and writing stories. I was fascinated by human psychology and deeply connected to music. After finishing high school, just before moving to Berlin to study art, I discovered that being a film director was actually a profession and it made sense for me. The perfect way to combine everything I loved: visuals, storytelling, emotion, and music.
I grew up watching films, and as a teenager I became obsessed with music videos. My first artistic work was actually a music video. I also remember watching films like Lilya 4-ever and The Pusher trilogy and feeling completely certain that I wanted to create work that felt that real, raw, honest, emotionally intense, with a strong sound track.
Growing up between cultures and later moving to Lagos shaped me in important ways. It didn’t necessarily change my style, but it strengthened my attraction to surrealism and identity.
What challenges have you faced as a filmmaker of African origin, and how did you overcome them?
When I started out, there were very few Black directors in the international commercial industry, even fewer women. I was often approached only for identity-driven topics. And as much as I value my lived experience and what it brings to my work, I didn’t want it to define the limits of what I could direct.
I’m still navigating that challenge by focusing on craft and creating work across different subjects. Over time, my body of work has helped shift the perception that my perspective is niche. I can bring stories to life across genres and themes, in a way that feels true to my wide-ranging interests and curiosity.
What advice would you give to aspiring African filmmakers aiming to share their stories on a global stage?
I would say be specific in your stories. Don’t try to make something just because you think it will appeal to a global market. Tell the stories that matter to you specifically. At the same time, seek to collaborate with people outside your national pool, different perspectives and skills will push your work further.
