Lagos-born filmmaker Moshood Abiola Obatula, known simply as Director Mosh, is not one to tread safe creative ground. With royalty in his blood and a formal directing education in Johannesburg, Director Mosh has built a reputation for blending meticulous research with an unflinching artistic edge. He calls himself a storyteller who won’t shy away from the shadows, earning the label of a “dark visionary” early in his career.

That reputation is embodied in his debut feature, Agemo, a daring mix of folklore, ritual, and societal critique that threads supernatural tension through the everyday realities of community life. At its heart is a story of women standing against an entire town, weaving solidarity and survival into a backdrop of cultural restrictions. The film’s success, both locally and internationally, has made it one of the most talked-about Nigerian debuts in recent years.

We sat down with Director Mosh to discuss his journey, the creation of Agemo, and how he navigates the fine line between tradition and subversion.

NoteS: Can you tell me a bit about your journey?

Director Mosh: My name is Moshood Abiola Obatula. I was born and raised in Lagos. My dad was a king in Ojodu Abiodun. He was the very first king crowned there. I studied computer science at LASU before moving to Johannesburg to study film and television at CityVarsity, majoring in directing.

I worked in South Africa, first as an intern, then with Ogilvy & Mather, then freelancing as a film director. I made several short films that got recognition before returning to Nigeria in 2023 to start my own company, Related Motion, where I’m now MD and creative director.

NoteS: Let’s talk about Agemo. When did the idea for the movie come from, and did you ever imagine it would get this much attention?

Director Mosh: Not exactly. Considering it was my debut feature, I knew it would come out well, but I wasn’t certain it would get this much recognition. I developed the beginning, middle and end myself, then brought in a screenwriter to perfect and finalise it. Script development took about four months in total.

The main reasoning behind Agemo was to expose wrongs in society, especially those tied to traditional rulers, and to remind us to listen to our inner voice. Most times, when something doesn’t feel right, it probably isn’t.

NoteS: The film mixes cultural realism with supernatural elements. How did you strike that balance?

Director Mosh: That’s always been my thing, even from school. Whenever I was given a brief, I’d ask if I could blend genres, add a twist. With Agemo, I wanted to tell an original Nigerian story, but present it with a foreign visual and narrative touch.

I layered psychological twists with realism and depth so the audience never quite knows what to expect. That unpredictability keeps me going as a director.

NoteS: You’ve been called a “dark visionary.” Where did that come from?

Director Mosh: It started in South Africa. I had a film showing at a Cape Town festival, Part of Me, and it was very dark. After the screening, the presenter said, “You’re a dark visionary.” I’ve owned it ever since. Even if I’m telling a straightforward drama, there will always be a dark element in there. It’s who I am.

NoteS: Was Agemo based on the real festival or myth?

Director Mosh: Well, I wanted to tell a story about the festival where there’s a public celebration, but behind the scenes, there’s something much darker. I was careful not to directly portray specific kingship realities because of the society we live in.

I merged elements of real traditions, like the Oro festival, with stories from NYSC youth corps members. Some of them have served in towns and never returned. These things happen, even if they’re wrapped in ritual and “cleansing” narratives.

NoteS: The central figure in Agemo is a woman, and her journey is surrounded by female allies. Was that intentional?

Director Mosh: Absolutely. It’s three women against an entire town. Agatha, the young woman; Orin, another young lady; and Modia, an older woman. At first, Modia seems dangerous to Agatha, but she becomes her greatest ally.

Initially, we thought we would use one of the king’s men, such as a guard, to gather information for Agatha. Therefore, we had to collaborate during the script development and make some adjustments for certain reasons.

In Oro festivals, men can walk freely at certain times, but women are forbidden. That restriction was key for me. I wanted to flip the expectation, women fighting battles we’d usually expect men to fight, but doing it through emotion, logic, and solidarity.

NoteS: You’ve spoken about trust with actors. How do you work with them to get the performances you want?

Director Mosh: I believe in replaying my takes with my actors. Sometimes, no matter how much you explain, they might not get it. Some actors won’t give you any trouble; they’ll nail it quickly. But if they don’t, it’s still my responsibility to get the best out of them.

I’ll take a break, replay what they’ve done, and say, “Okay, this is what I want you to do better.” That helps a lot. It’s about communication, creating an environment where they feel heard and supported, so they can give their best.

NoteS: The film is rich with visual symbolism. How did you develop that language?

Director Mosh: Research. I travelled to Akure, Ekiti, and Oyo, and saw places frozen in time. One house had a door no one had opened in over 100 years. Locals warned us not to go near it. Those images stayed with me.

I wanted Agemo’s visuals, from oil lamps to camera movement, to feel like they came from that world. It’s about replicating the story, not just in the scrip,t but in every frame.

NoteS: How do you see the difference between Nigerian and international reception for films like Agemo?

Director Mosh: International audiences are more ready for this kind of work than modern African audiences. Some local platforms told me Agemo was “too artistic, too raw.” Abroad, those are the qualities they celebrate.

For me, it’s important that my people can relate to the story first, but the truth is, Agemo has received more recognition and offers outside Nigeria. That’s the balance I’m figuring out, telling African stories that resonate here but also travel well.

NoteS: With the success of Agemo, what’s next for you? Are you trying to explore new themes?

Director Mosh: I’m not leaving this lane. I love psychological, supernatural, and genre-blending storytelling. I haven’t found anything exciting enough to make me change direction. I’d even welcome competition in this space, I’d drag it with them!

Conclusion

Agemo may be Director Mosh’s debut feature, but it already feels like the work of a filmmaker sure of his voice and unafraid to tell the stories others shy away from. In blending the supernatural with cultural reality and grounding it all in meticulous research, he’s crafted a film that lingers long after the credits roll. The future promises even bolder, darker, and more unflinching visions from the man who wears “dark visionary” like a badge of honour.