The upcoming Nigerian film project, I Live in V.I., a sharp social class satire delving into themes of urban alienation and gentrification, recently garnered significant international attention at the Locarno Film Festival. Directed by Ugochukwu Azuya and produced by Olubunmi Ogunsola of Ensemble, the film was a highlight of the 2026 Open Doors program, a prestigious co-production platform dedicated to fostering talent from equity-seeking communities and regions where artistic expression faces challenges. The project’s compelling narrative and Azuya’s distinct vision earned it the coveted Tabakalera-San Sebastian Film Festival Residency Award, marking a crucial step in its development cycle.
Locarno’s Open Doors: A Platform for Global Voices
The Locarno Film Festival, renowned for its adventurous programming and support for independent cinema, hosts Open Doors as a vital initiative aimed at nurturing filmmakers and projects from underrepresented regions. The 2026 edition specifically focused on films from Africa, providing a critical spotlight on the continent’s burgeoning cinematic talent. Participation in such a program offers invaluable exposure, connecting emerging directors and producers with international financiers, distributors, and mentors. For I Live in V.I., being selected for Open Doors not only validated its artistic merit but also provided a robust foundation for its journey from concept to screen, positioning it within a global network of industry professionals.
The Visionary Behind I Live in V.I.
Ugochukwu Azuya, an emerging voice in Nigerian cinema, brings a deeply personal perspective to I Live in V.I. His previous work includes the critically noted 2023 short film, Swimming in Sea of Trauma, which demonstrated his capacity for exploring complex emotional landscapes. With I Live in V.I., Azuya aims to translate his lived experiences in Lagos into a narrative that resonates universally. He collaborates with producer Olubunmi Ogunsola and their production company, Ensemble, signaling a partnership committed to developing authentic and impactful Nigerian stories for a global audience. The recognition at Locarno underscores a growing international appetite for diverse narratives that challenge conventional perspectives on urban life and societal structures.
Synopsis: A Tale of Deception and Survival in Lagos
The film introduces Florence, a 23-year-old from Akwa Ibom, whose life takes an abrupt turn after the sudden death of her father. She migrates to Lagos, Africa’s most populous city, seeking new opportunities in the bustling hospitality industry. However, the promise of Lagos quickly dissolves into a harsh reality. Florence contends with deplorable living conditions, an arduous daily commute to the affluent Victoria Island (V.I.) where she works, persistent insomnia, and the weight of unprocessed grief. The relentless demands of her new life push her to a desperate measure: she begins squatting in an abandoned, decades-old government building project, significantly closer to her workplace.
Florence’s newfound punctuality baffles her colleagues. To maintain an illusion of success and avoid judgment, she fabricates a story: she claims to live in V.I., an exclusive neighborhood synonymous with wealth and privilege, with a once-famous but now forgotten aunt. This elaborate deception is Florence’s attempt to sustain the façade of "living the good life" in Lagos. Azuya describes the film as having a "Möbius-strip-esque structure," hinting at a narrative where reality and illusion seamlessly intertwine, creating a surreal social class satire that confronts grief, urban alienation, and the pervasive impact of gentrification, ultimately questioning the viability of the "Nigerian dream."
Director’s Perspective: Lagos as a Living Entity
Azuya views Florence as a surrogate for himself and countless other young Nigerians navigating the treacherous landscape of Lagos. He emphasizes how individuals, much like the city itself, can be evasive about their vulnerabilities when constrained by the dictates of capitalism. His director’s note paints Lagos as a city of stark contradictions, where "exorbitant displays of wealth exist alongside failing infrastructure and displaced people." This duality forms the very core of I Live in V.I.
The film, according to Azuya, is populated by an ensemble of characters whose dramatic situations are infused with the "Nigerian collective psyche" – a blend of eccentricities, bravado, and an extraordinary spirit of adaptation. He highlights the "gleefully sardonic texture" of Nigerian humor, which he believes shapes the story and allows for a nuanced exploration of dire circumstances. Azuya’s artistic ambition is to capture "the poetry of the city: brutal, magical, chaotic," moving beyond stereotypes to showcase the vibrant, complex tapestry of Lagos, from its bustling markets in Yaba and Oshodi to its elite beaches in Elegushi and historical sites in Obalende, encompassing the sprawling diversity from Ojo to Gbagada. He sees all these disparate elements forming a "constellation" that is Lagos.
The Roots of Inspiration: Personal Experience and Societal Critique
Azuya’s inspiration for I Live in V.I. stems directly from his personal experiences as a young person living in Lagos. He describes the city as a "materialistically driven, very classist society," a reality that deeply influenced his understanding of societal mechanisms. Beyond his own journey, he drew from observing the lives of other young people, particularly women, who mirror Florence’s working-class background and struggles.
His long-standing interest lies in how societal structures shape both individual and collective psyches, especially within a capitalist framework. I Live in V.I. is designed to dissect these manifestations across various social strata, examining the intersections of class, gender, and social background. The film promises to be more than just a narrative; it aims to be a socio-economic commentary, offering insights into the profound ways economic pressures and societal expectations mold human behavior and identity in a rapidly developing urban environment.
Universal Resonance: The Global City Experience
Azuya firmly believes in the universal appeal of I Live in V.I. He argues that the themes explored—leaving one’s hometown for a cosmopolitan city in pursuit of identity and improved material conditions—are not unique to Nigeria but resonate with individuals across the globe. Whether it’s Lagos, Tokyo, São Paulo, or New York City, the experience of navigating a new urban landscape, asserting one’s place, and striving for a better life is a shared human endeavor.
Cities, he notes, are unique milieus characterized by a peculiar rhythm that becomes intrinsic to the psyche of their dwellers. For outsiders, this relentless tempo can be overwhelming, leading to a profound sense of loneliness and a lack of human connection despite being surrounded by millions. This exploration of isolation amidst density, a common byproduct of modern urbanization, makes I Live in V.I. a relevant and poignant story for audiences far beyond Nigeria’s borders, inviting global viewers to reflect on their own urban experiences.
The Nigerian Dream: Hope and Disillusionment
The concept of the "Nigerian dream" is central to the film’s thematic core, serving as a poignant counterpoint to Florence’s struggles. For many young Nigerians, this dream embodies the aspiration for economic stability, social mobility, and a fulfilling life, often tied to the perceived opportunities in bustling urban centers like Lagos. However, I Live in V.I. suggests a "lost hope" within this dream, portraying a reality where the promised land often delivers disillusionment, inequality, and a relentless struggle for survival.
This narrative thread critiques the structural barriers that prevent many from achieving their aspirations, highlighting how systemic issues like inadequate infrastructure, limited social safety nets, and rampant classism can turn dreams into a harsh reality. The film’s satirical lens allows it to expose these uncomfortable truths while maintaining an engaging and thought-provoking storyline, reflecting the resilience and ingenuity required to navigate such an environment.
Gentrification and Urban Alienation in Lagos
The film’s exploration of gentrification is particularly pertinent to Lagos. As a rapidly expanding megacity, Lagos experiences intense pressure for development, often at the expense of its poorer inhabitants. Areas like Victoria Island, once accessible to a broader demographic, have transformed into exclusive enclaves, pushing out lower-income residents and small businesses. This process exacerbates class divisions, creating stark visual and economic contrasts between the privileged few and the struggling masses.
Urban alienation, another key theme, manifests as a psychological consequence of this rapid urbanization and economic disparity. Florence’s insomnia and gradual unraveling are symptomatic of the stress and disconnection experienced by many city dwellers who feel isolated despite living in densely populated areas. The film promises to vividly depict how the constant struggle for survival, coupled with the erosion of community ties and the overwhelming scale of the city, can lead to profound feelings of detachment and existential angst.
Next Steps and Industry Impact
The win at Open Doors, specifically the Tabakalera-San Sebastian Film Festival Residency Award, represents a significant boost for I Live in V.I. This award provides not only financial support but also crucial time and resources for the film’s development. Residency programs offer filmmakers a dedicated space to refine scripts, engage with mentors, and collaborate with international experts, ensuring the project receives the meticulous attention it needs. For Azuya and the Ensemble team, this means focusing on an "adequate development cycle," a critical phase that can make or break an ambitious film project.
The recognition from Locarno and San Sebastian places I Live in V.I. on the radar of international film circles, signaling its potential as a significant contribution to global cinema. This exposure is vital for securing further funding, attracting talent, and ultimately reaching a wider audience. The project exemplifies a growing trend in African cinema: a move towards artistically driven narratives that combine local specificity with universal themes, capable of engaging diverse viewers and contributing to global cultural discourse. The journey of I Live in V.I. from a compelling concept to a fully realized cinematic experience will be closely watched as it navigates the competitive landscape of independent film production.
