By Joshua Olomu
The National Film and Video Censors Board (NFVCB) has formally intervened in a growing cultural controversy, requesting that the producers of the film “A Very Dirty Christmas” modify its title. This move highlights the complex, often precarious, balance Nigerian regulators must strike between artistic freedom, public sentiment, and religious harmony in a diverse society.
Dr. Shaibu Husseini, the Executive Director/CEO of the board, confirmed the action in an interview with the News Agency of Nigeria (NAN) in Abuja. The request follows significant public backlash and a formal complaint from the Christian Association of Nigeria (CAN), which labeled the title “offensive and a mockery” of the Christian faith.
The Heart of the Controversy: More Than Just a Title
CAN’s objection centers on the perceived association of the sacred Christmas season—a celebration of the birth of Jesus Christ—with the term “dirty.” For many believers, this juxtaposition diminishes the spiritual solemnity of the period, reducing it to a crude or morally questionable premise. The complaint raised a critical question for the NFVCB: how did such a potentially provocative title pass its scrutiny for public exhibition?
Dr. Husseini clarified the board’s initial position, stating that approval was granted based on the film’s content being an act of “fictional and creative expression.” The NFVCB reviewed, approved, and classified the film according to its extant laws and guidelines, focusing on the plot rather than the title in isolation. He emphasized that the approval “was not intended to disparage or trivialise the Christian faith or the significance of Christmas.”
The Regulatory Tightrope: Balancing Law, Creativity, and Public Perception
This incident is a textbook case of the challenges facing content regulators globally, but with uniquely Nigerian dimensions. The NFVCB operates under a mandate that requires it to “balance creativity and regulation,” as Dr. Husseini noted. This involves a subjective evaluation of what might cause public offense or religious tension versus what constitutes legitimate artistic commentary.
The board’s subsequent decision to request a title modification, despite its initial approval, demonstrates a principle of responsive regulation. “We have heard their concern,” Husseini stated, acknowledging that “public perception and reception are critical elements of effective regulation.” This pivot is supported by Section 39(1) of the NFVCB’s enabling law, which empowers the Film Censorship Committee to order a film’s withdrawal for further review in the public interest.
Beyond the Headlines: The Film’s Actual Content
Interestingly, the plot of “A Very Dirty Christmas,” directed by Akay Mason and produced by actress Ini Edo, is a family drama unrelated to religious satire. The story centers on a family Christmas reunion where long-buried secrets and past traumas resurface, turning a festive holiday into a tense emotional confrontation. The “dirty” in the title metaphorically refers to these hidden truths, not to the religious holiday itself.
The ensemble cast includes notable figures like Eucharia Anunobi, Femi Branch, and Nancy Isime. This context is crucial—it shows a disconnect between the film’s artistic intent (a dramatic exploration of family secrets) and the public’s interpretation of its title, which many found inherently sacrilegious.
A Precedent for Dialogue and National Cohesion
Dr. Husseini framed the NFVCB’s action as a step to “prevent any unnecessary religious tension” and uphold “religious sensitivity, mutual respect and peaceful coexistence.” In a nation where religious identity is deeply intertwined with cultural and social life, such sensitivities are not merely about offense but about maintaining the fragile fabric of national unity.
The board’s engagement with the producers, rather than an immediate punitive ban, sets a precedent for mediated dialogue between creators, regulators, and the public. It acknowledges that while regulation is necessary, it must be exercised with an understanding of Nigeria’s diverse socio-religious landscape. The NFVCB has reassured stakeholders of its commitment to “promote understanding, respect for religious diversity and national unity, while also supporting responsible creativity.”
This case serves as a critical study for filmmakers and regulators alike. It underscores the importance of considering cultural and religious context in creative branding, and the need for regulatory bodies to remain agile, listening to public sentiment while safeguarding artistic expression. The outcome of this request for modification will be closely watched, as it may define new boundaries for creative titles in Nigeria’s vibrant film industry.
Edited by Ekemini Ladejobi
Source: NAN
