Kayode Kasum on Ramsey Nouah, Osas Ighodaro, ‘Love, Lust and Other Things’ [Interview]

His latest project for MSwitch Productions, in collaboration with Sozo Films, is no different. Titled Love, Lust, and Other Things, the movie has the director’s stamp complete with a long, unique title and an interesting subject matter.

It’s a romance reminiscent of the good old days, when Nollywood told messy, yet mostly relatable stories of beautiful women and their love interests and playboys. Picture young Genevieve Nnaji with Ramsey Nouah in Power of Love (2002) or Omotola Jalade Ekeinde and Emeka Ike as lovebirds in Touching Love (2003).

Love, Lust and Other Things has Nouah in his element as a swoon-worthy, wealthy lover, who is perfect for Osas Ighodaro‘s character. Add Kunle Remi and Wale Ojo, and you get a steamy affair that covers all the bases and gives everyone what they need in a modern romance film.

Written by Comfort Booth, the movie follows a recently divorced middle-aged woman who goes on a journey to find herself and what she wants between love, sex, and money.

Speaking exclusively with Pulse, the director tells us why he said yes to this movie, his process, his thoughts on nudity, and more:

I got a call from Chris Odeh, a major Nollywood producer of movies like Living in Bondage, which is on my list of Nollywood films that I like. So, I was quite excited when I got the call. Also, Nollywood is a female-dominated space, so I hadn’t worked with a male producer in a while. There was the fact that I had to go to Abuja, away from the hustle and bustle in Lagos, so that was fun. The story struck me because it was a different type of romantic film. It was a film about married characters and finding yourself after a divorce. It was about intimacy in marriage—a lot of things that I felt had not been tried in this space. It was very intriguing. It had yes written all over it. Still, my nerves kicked in when I got the call because this film is everything the audience has not seen, so we don’t know how it will play out. But if you know me, and the type of work that I do, you know these are the types of things I like to do. So, I jumped on it.

I initially asked the producers if they didn’t want a female director for this film, but they said they expressed their confidence in me because they had seen my female-led movies. For me, when I’m working on a film with a female lead, I tend to lean towards my technical side and let the female actors work. I always have a plan A for how I want to approach the scene. Then, after I have talked about my first plan with the actor, my plan B is to ask for their perspective on that scene because she’s a woman. It is always a collaboration, and that’s how I tell all my female-led stories. I have a plan, but I also tell the actors that I need them to go on this ride with me because they have real-life experience; I just have ideas or experience from what I think I know. I don’t go on set acting like I know everything. When the actor sees that the film isn’t just on the director’s head and that I need them, I think they always want to pull their weight, and we end up doing something quite good.

I think it’s different; you have not seen it before onscreen. They had worked together on Rattlesnake, where he was the director and she was the actor. So they already had an existing relationship. I had to just work on whatever relationship they had and bring it to the screen. I did it by basically telling them who they are now—they are not friends, and this is a man who is trying to get to know you. My style of directing is that I always try to put the actors into character by explaining to them what they are feeling. I am always in their ears, softly, and respectfully telling them what’s happening, and what she is feeling. I guess that style worked out for them because I did believe that Ramsey was Khalid and Osas was Lydia.

We did a lot on this, but the producers are religious people, so they asked us to cut it out. For me, I have a problem with sex scenes in general. I don’t know how to watch sex scenes in films. It doesn’t have anything to do with Nollywood for me. It’s like, ‘I know they are going to have sex, let’s move on.’ I think if it’s really necessary, it should show. Come on, we are adults. Everybody sees it; it is available on the Internet for free. We know the actors are not having sex; they are faking it, but I think if it is necessary, do it. When you’re doing a film titled Love, Lust, and Other Things, the sex scenes are necessary. My approach was to show how Lydia transformed and enjoyed exploring her sexuality. So, if the sex scenes are important, do them, but if they are not adding or taking anything away from the story, I don’t think there should be any cause for nudity.

It’s two things for me. I think men are proud of when they are trying to find out who the one is, the journey to who the one is. Men are allowed to have some fun when it comes to that, but women are supposed to stick with one person, whoever comes along. So, there is that angle, which I like. Secondly, for me, it was the fact that these are characters who have been married and have kids. So they are going to make not just hard decisions, but decisions that are good for them. So it makes sense that Lydia ended up with who she ended up with because she’s not just thinking about herself. It’s a real-life drama with real people facing real-life decisions. To the audience, it’s very entertaining, but at the end of the day, it’s like a self-reflection through this film, so you can look at your life and know that sometimes these are the types of decisions that are meant to be made when there are lives involved.

Love is genuine. I guess in the context of our film, she is attracted to this person because of lust, and how the person makes her feel sexually. Then, she is attracted to another person because of how this person makes her heart feel. She has to find a balance and figure out what she wants. One person gives her sex, but another one makes her feel at home.

I want them to talk about Lydia, a woman’s choice, and sex in marriages. I think this type of film was made for commentary. I don’t think anyone will watch this film and leave without talking about it. I hope I can get them talking. For married people, there are a lot of conversations. You can ask yourself what they would do in the same situation. If you are a husband who is not performing, don’t go and watch this film with your wife because the drive back home will be awkward. Watch it alone. I know it’s different, and the audience will receive it differently. As filmmakers, we know what the general audience likes, but this is different, so their response will be different. Will they enjoy it? Yes. Will they leave this film talking about the film? Yes. Does the film talk about some topics that we try to run away from as a society? Yes. So, it’s not going to be a waste of your time.

Expect good films. I’m working on getting better with every film, so good and better films. I have Áfàméfùnà coming up. It’s a film about the Igbo apprenticeship system. I like the film so much. It’s something I’m excited that we finally got to do. I know some people may be angry that a Yoruba person is making this film, but first of all, I am the type of guy who loves other cultures. I’m very open to different cultures that are not mine. Two, I’m Nigerian, and three, I didn’t do it alone; I didn’t tell it from my perspective. I had Igbo historians, teachers, and lecturers on set. It wasn’t just about the film for me; it was also a learning experience and a chance to learn about this culture. I hope we make Nigerians proud with this one.

Love, Lust, and Other Things is currently showing in Nigerian cinemas.