‘Finding Nina’ Rekindles Jos’s Cinematic Legacy—But Leaves Questions About Northern Storytelling

Philemon Obeze

MEE’S PALACE, JOS-The lights dimmed, the screen came alive, and Jos erupted in applause. But the ovation at the glitzy premiere of Finding Nina was not only for the film. It was also for the city itself—a reaffirmation that Jos remains the heartbeat of Nigerian cinema.

Now streaming on Prime Video, Finding Nina tells the story of Jabir (JB), a photographer who returns to Northern Nigeria and is confronted by the photograph of a childhood love, Nina. That single image becomes the key to a journey of self-discovery, pulling him through memory, love, and the unrelenting weight of the past. The story is woven through dreamlike sequences inspired by Hausa folklore, contrasting Lagos’s fast-paced energy with Jos’s layered cultural richness. His vision is clear: to reframe the narrative of Northern Nigeria through cinema.

After the screening at Mee’s Palace in Jos, the Plateau State capital, on Aug. 16, the conversation spilled into an interactive session where cast, crew, and creatives unpacked the film’s themes, the hurdles of production, and the promise of Jos’s creative industry. For veteran filmmaker Adamu Mazua of Lenscop Media, the film only underscored what he has always believed: “Jos is the home of movies in Nigeria.” He recalled the city’s proud legacy of producing stars such as Ramsey Nouah, Ali Nuhu, and Bongos Ikwe, alongside the presence of the National Film Institute and the unmatched natural landscapes that have framed so many iconic Nigerian productions.

Others echoed this sentiment. Ephraim Freezle of Explore Naija called Finding Nina a bold stride toward amplifying Northern stories in mainstream media. “The landmarks and culture felt close to home,” he said. “That made the film even more personal to me.”

Still, not all feedback was glowing. Some audience members pointed to a bias in how Nina herself was represented. For them, Nina stood as a metaphor for the North: full of promise, yet portrayed as naive and easily exploited. While the film sought to shine a positive light, it left some threads untied. JB’s return, for instance, promised impact through photography, but the narrative never showed whether those images carried weight beyond his camera lens. The story, they argued, felt unfinished.

“I kept hoping Nina would fulfil her dream of becoming a top-class model,” one attendee noted. “Even if she didn’t end up with JB, that ending would have been a powerful way to show something beautiful and enduring about the North, where people least expect it.”

On a lighter note, some female creatives joked about staging a “Justice for Nina” protest, playfully challenging the film’s resolution.

Yet, despite these debates, the evening closed with a shared sense of pride. The premiere of Finding Nina was more than a film screening—it was a cultural gathering, a celebration of Plateau’s artistry, and a reminder that Jos continues to shape, challenge, and redefine the landscape of Nigerian cinema.