CANEX Creations powers global rollout of Nigerian film ‘Clarissa’

CANEX Creations Inc. (CCInc), the intellectual property investment arm of the Fund for Export Development in Africa (FEDA), a subsidiary of African Export-Import Bank, announces its investment in the Nigerian feature film ‘Clarissa’.

The drama, directed by twin filmmakers Arie and Chuko Esiri, has now been acquired for worldwide distribution by NEON, the U.S., based studio known for backing award-winning international cinema. NEON will oversee the theatrical release in the United States and handle international distribution through its global sales arm.

Shot on 35mm in Lagos and Delta State, Clarissa is a contemporary reimagining of Virginia Woolf’s ‘Mrs Dalloway’, relocated to modern-day Lagos. The film follows society woman Clarissa over the course of a single day as she prepares to host a party, only to confront past relationships, long-buried desires, and unresolved memories that resurface through unexpected reunions.

The project features an acclaimed ensemble cast including Sophie Okonedo, David Oyelowo, Ayo Edebiri, India Amarteifio, Toheeb Jimoh, and Nikki Amuka-Bird. It is written, directed, and produced by the Esiri brothers, whose debut feature Eyimofe (This Is My Desire) premiered at the Berlinale and earned multiple African Movie Academy Awards before being released internationally.

Production financing for Clarissa was led entirely by Africa-based institutions, with CCInc investing alongside Nigerian investment firm MBO Capital Management Limited. The structure reflects a growing shift in how high-quality African films are funded, with local capital backing globally competitive projects rather than relying solely on foreign financing.

Osahon Akpata, Chief Executive Officer of CANEX Creations Inc., described the film as an example of the type of globally resonant, intellectual property-driven storytelling the fund was created to support. According to him, the acquisition by NEON validates both the creative ambition of the filmmakers and the viability of Africa-backed financing structures for internationally scalable content.

For Chuko Esiri, the decision to shoot on 35mm and to finance production from within the continent was intentional. He noted that grounding the project in African institutions reflects growing confidence that local stories can be resourced at home while meeting global artistic standards.

The development aligns with broader conversations about structured financing in Nollywood. Speaking previously at the Africa International Film Festival, David Oyelowo emphasised the need for stronger investment frameworks to elevate Nigerian cinema’s global competitiveness, proposing blended funding models that combine institutional and private capital to scale production quality and distribution reach.

With Clarissa set for international theatrical release, the CANEX investment signals more than a film deal. It marks a milestone in Africa’s evolving creative economy, where intellectual property is treated as a strategic export asset, and where African financial institutions are increasingly positioned not just as supporters of trade but as enablers of cultural influence on the world stage.