Rebuilding Film Regulation Through Dialogue, Data & Trust
THE RETURN OF ARTS WRITING AND THE REINVENTION OF FILM REGULATION
Husseini, Arts Writers and the Case for a Smarter Creative Economy
The rebirth of the Arts and Culture Writers Association could not have come at a more critical moment for Nigeria’s creative economy. For Dr. Shaibu Husseini, Executive Director of the National Film and Video Censors Board (NFVCB), the reorganisation of the body represents more than professional renewal—it signals a possible restoration of informed cultural discourse in a fast-expanding but poorly understood sector.
Speaking during an engagement with the newly elected leadership of the association, Husseini pledged institutional support for arts writers, describing their role as essential to policy clarity, historical documentation and sector accountability. He recalled a period when arts journalism went beyond red carpets and premieres, producing deep, research-driven narratives that shaped cultural institutions and influenced government decisions.
“In those years, arts writers did not merely report events,” he noted. “They helped build institutions.”
Why Arts Journalism Matters Again
Husseini argued that today’s creative ecosystem—spanning film, digital platforms, performance, streaming and allied industries—demands a knowledgeable, organised and policy-literate media presence. Without it, he warned, the sector risks being misunderstood, misregulated or reduced to entertainment gossip.
He assured the association of collaboration through workshops, joint programmes and capacity-building initiatives, stressing that regulators and journalists must replace suspicion with partnership if the industry is to mature sustainably.
An Appointment Without Lobbying
Reflecting on his journey to the NFVCB, Husseini revealed that his appointment in January 2024 came as a surprise. He neither sought the position nor had prior discussions with the supervising minister. At the time, he said, he was preparing to return to academia after over two decades in performing arts, criticism and cultural documentation.
However, accepting the appointment became an opportunity to translate long-held critiques of Nigeria’s film regulation into concrete reform.
Rebuilding from Within
On assumption of office, Husseini said he met an institution with committed staff but outdated processes and weak public visibility. Rather than overhaul personnel, he chose to work with existing officers, focusing instead on motivation, clarity of purpose and operational reform.
One of his earliest concerns was public ignorance of the board’s mandate—an anomaly for a regulator established in 1994. Visibility and stakeholder engagement quickly became priorities.
Digitisation and Faster Classification
Responding to long-standing industry complaints, the board strengthened its online classification system. Though digital infrastructure existed before, Husseini said it was underutilised and inefficient. Today, classification decisions can be delivered within 24 hours in some cases, significantly easing production timelines.
He added that the long-term vision is a fully digitised board capable of flexible work arrangements and faster service delivery.
Dialogue Over Litigation
Husseini said rebuilding trust across the film value chain has been central to his approach. Regular engagements with filmmakers, distributors and exhibitors have helped demystify regulation, while inherited court cases were largely resolved out of court.
“Regulation is not about stifling creativity,” he said. “It is about guiding it responsibly.”
Controversies and Context
Addressing classification controversies, including public reactions to A Very Dirty Christmas, Husseini explained that the board’s decisions are guided by content, not sentiment. He emphasised the distinction between fiction and religious symbolism, while noting that reviews remain possible when public concerns arise.
Beyond ‘Censorship’
One of the boldest reforms underway is the proposed removal of “Censors” from the board’s name. Husseini said the term fuels misconceptions globally, and that most countries now operate film classification boards. He confirmed that legislative amendments are in progress, with completion expected by mid-2026.
Archives, Data and the Future
From securing a permanent headquarters in Abuja to plans for film museums, digitisation of over 280,000 archived titles and the launch of a four-volume film index, Husseini’s vision extends beyond regulation to cultural preservation.
At its core, he said, the goal is a data-driven, globally credible Nigerian film industry—supported by informed journalism and responsible storytelling.
