Gbolahan Peter Macjob is a Nigerian author, journalist, multimedia producer, and Emmy-nominated investigative reporter.
He’s finest identified for his work on the BBC Africa Eye documentary Black Axe: Nigeria’s Mafia Cult, a deep dive into one of many world’s deadliest and most violent prison organisations.
Macjob’s directorial debut, Ireke: Rise of the Maroons, declares itself as an unflinching examination of certainly one of historical past’s darkest chapters, refusing to draw back from the brutal realities of slavery whereas centring tales of resistance, defiance, and the unbreakable human spirit. This bold first function from the journalist-turned-filmmaker is grim and graphic, but in the end emerges as an audacious, spirited work that finds recent perspective in well-trodden narrative territory.
Produced by Toyin Moore, the movie follows Atanda (Tobi Bakre), whose world is shattered when his father is murdered throughout a violent raid on his homeland. Torn from every part he is aware of and offered into slavery within the New World, Atanda turns into a determine of quiet dedication, combating to protect his spirit, his religion, and his goals of freedom amid unimaginable hardship.
With a runtime of 96 minutes, this historic drama additionally stars Atlanta Bridget Johnson (Áfàméfùnà: An Nwa Boi Story), Westy Baba (Malaika), Fathia Balogun (Labaka Olododo, Jagun Jagun), Demetri Turin (Gatwick Gangsters, Grindsploitation), Alex Franklyn, Mofe Duncan (Sons of the Caliphate), Femi Department (Home of Ga’a, Ajoche), Antar Laniyan, Bolanle Ninalowo, Yetunde Oduwole and Genevieve Edwin.
We spoke to Macjob about Ireke, narratives round slavery, black storytelling, and the demonisation of African tradition.
Please introduce your self…
My title is Omogbolahan Peter Macjob. I’m a Capricorn, a proud Yoruba man, and an Ifa devotee.
Describe your life in a single phrase or a sentence.
I’m a person of many elements, which might typically be chaotic and overwhelming.
Why are we right here?
We’re right here to speak about my new movie, Ireke: Rise of the Maroons.
Inform us what Ireke is about in your personal phrases…
I might describe Ireke as a watershed second within the historical past of Nollywood storytelling. Impressed by the 18th-century rise up of African slaves within the Caribbean plantations, this film is an announcement of intent on the necessity for us to regulate the telling of our tales to the worldwide north, and never the opposite approach round.
The place did this story come from?
I watched a BBC documentary in regards to the Caribbean; the presenter had visited the Maroon group and recounted the folks’s heroics in opposition to British slavers. I discovered that extraordinary, so I made a decision to analysis, and the second I discovered the African connection, I knew I needed to inform their story as a type of tribute.
Being your directorial debut, describe the method of filming Ireke…
The method of making this piece was an unimaginable studying curve. I had a workforce of skilled filmmakers whom I shadowed till I regularly settled into the function (of director), but it surely wasn’t muffins and ale, I can inform you that.
Whereas writing the screenplay, did you expertise any writing blocks, and the way did you surmount them?
Penning this screenplay was one of the crucial liberating emotions ever. I didn’t expertise any psychological blocks. Quite the opposite, I had too many concepts to the extent that I began to confuse myself earlier than ultimately deciding to go together with this (specific) storyline.
Which character on this movie is closest to you and the way you see the world?
It needs to be Atanda. I’ve the tendency to get on with issues, endure and keep resilient, but when I get pushed over the sting, I’ll retaliate with important drive.
A scene or a line in Ireke that finest captures why you agreed to make this.
The second when the Maroons invaded the plantation stays one of the crucial iconic elements of the entire course of.
It’s a second of defiance, the purpose once you say “sufficient is sufficient”
What have been the important thing variations you skilled in your transition from documentary filmmaking to directing function movies?
With documentaries, there isn’t any embellishment; you seize each second and describe what you see as a result of the important thing goal is factual illustration. However with motion pictures, actors should ship their traces in a selected approach and convey sure feelings. Nevertheless, it’s all filmmaking on the finish of the day, and the respective processes are a bit comparable, so the transition wasn’t too tough.
In recent times, black audiences have expressed fatigue with narratives regarding slavery. How did you stability this facet of the dialog with the necessity for Africans to inform their very own tales? How do you toe that skinny line between historic drama and “trauma porn”?
Like many Black folks, I, too, am uninterested in slavery-focused narratives, which is why Ireke is in regards to the rise up and the small victories our ancestors recorded. It’s crucial to notice that many of the “slave tales” that we’re aware of have been advised by the worldwide north. We needs to be those telling them, how we bear in mind and the way we select to reminisce, in order that we are able to put the information straight and maybe have tough conversations with ourselves too whereas we’re at it.
There are scenes in Ireke the place the slaves are seen attempting to carry on to Ifa worship and beliefs, regardless of coercion to embrace Christianity (the faith of their slave masters). How do you juxtapose that with in the present day’s conversations, the place African conventional worship continues to be demonised? Out of your perspective as an Ifa practitioner your self, how can Africans do their finest to protect their tradition and historical past even within the face of “peer stress”?
As somebody who grew up watching TV content material describe African spirituality as “satan worship”, and watching motion pictures that current African traditions and perception techniques as inferior to Western beliefs, I do know first-hand the significance of agenda setting by means of media. So, it’s my duty to vary the narrative in my work, particularly contemplating how the faith practised by the slaves was certainly one of their sources of power, and has endured to this present day within the Americas.
Books like Marlon James’ The Guide of Night time Girls discover the slave mutinies that erupted on the finish of the 18th century. Have been there particular works of literature, historical past or cinema you selected to seek the advice of in writing and producing this movie?
I merely learn a number of information articles in regards to the Maroon rebellion, watched a number of video documentaries, highlighted the principle characters, after which determined to make a Nollywood film infused with slave rise up while taking part in tribute to our Maroon ancestors. The core storytelling in Ireke stays “very Nollywood” on the coronary heart of it. It’s my approach of creating Nollywood attraction to a worldwide viewers relatively than a distinct segment diaspora viewers.
Let’s get political. How does Ireke contribute positively to black storytelling?
It units the information straight. It creates a way of satisfaction, the truth that folks fought again and used conventional abilities in addition to African spirituality to battle for his or her freedom. It additionally reminds us in regards to the complicity of Western faith within the trans-Atlantic slave commerce.
What can African and black filmmakers do to additional promote these tales of black resistance, energy and defiance, particularly when you consider what Haiti did in 1800?
As African filmmakers, it’s time to push the envelope in our storytelling and to inform these tales. We’ve to undertake a Pan-Afro-Caribbean method, the place we collaborate to inform extra African tales to a worldwide viewers. This can open up our movie industries to extra industrial alternatives.
GETTING TO KNOW YOU
If not this, then what? Knowledgeable basketball participant or an expert boxer.
What are you watching? Sinners.
What are you studying? Maroon historical past and extra rise up tales.
The final movie you watched? Purple Circle. I all the time verify the competitors.
The final play you noticed? Pricey Father.
The final dwell music occasion? A UB40 Live performance on the O2.
What’s at present in your playlist? UB40, Flavour, Bob Marley, Burna Boy, Lionel Richie, Sade Adu, and Onyeka Onwenu.
What podcast are you listening to? Diary of a CEO, Joe Rogan, BBC Coronary heart and Soul.
What’s in your bucket listing? Climb Kilimanjaro (mountain), stroll with lions, go on a cruise, an NBA courtroom facet expertise, go to Tyler Perry Studios, clinch an Emmy and perhaps an Oscar.
The place’s your joyful place? Couch, TV, meals, zero cash worries, and Bailey’s (liquor). This could possibly be wherever on this planet.
Have a good time another person. Lebron James is my favorite individual. Respect.
Have a good time your self. Did I point out that I’m an Emmy-nominated journalist?
The place can we discover you on socials? Instagram – @peter_macjob, X – @GbolahanMacjob.
The place can we watch you at work? Take a look at my work within the Programmes part of the BBC, and at present, in cinemas.
Ireke is distributed in Nigeria by Blue Footage and worldwide by BUFF Studios. It’s now exhibiting in cinemas throughout Nigeria and the UK, following its international premiere on twenty fifth July 2025.