’76 is a Nigerian historical fiction drama film directed by Izu Ojukwu and produced by Adonaijah Owiriwa. It featured Nouah, Dominic, Chidi Mokeme and Ibinabo Fiberesima among others.
The film received positive reviews from movie lovers and was nominated in 14 categories at the 2017 African Magic Viewers Choice Awards (AMVCA).
Seven years after the movie’s prequel, Ojukwu took to social media to tease ’77: The FESTAC Conspiracy.’
“Rita Dominic is set to bring her magnetic presence to the big screen again in, “77:The FESTAC Conspiracy”,” one of the posts reads.
“Grasp the reins tightly as we experience, through her exhilarating performance, the most spectacularly exuberant and luxurious All-Black and African Arts Festival (FESTAC), to ever happen!
“The Legend, Ramsey Nouah is acclaimed for his stunning performances and he once again proves his mettle in the much-anticipated movie “77:The FESTAC Conspiracy”.
“He delivers a performance that is set to question our personal morals, as he explores a dilemma of his fealty to Africa’s age old dynasties.”
The movie director, however, did not share details regarding the film production and release date.
The scenario from ’76 will be continued in the upcoming film, which centres around a young soldier suspected of being engaged in the failed 1976 military coup and assassination of General Murtala Mohammed.
76 takes place during the time of military assassinations. It is also the first time a Nigerian film shoot has been permitted within a military base.
The army provided full support during filming at Mokola Barracks in Ibadan, Oyo, which took three years to organize.
The cast was trained for 21 days by instructors from the Nigerian Defence Academy (NDA).
“It’s a story told from a dual point of view – from the soldier’s patriotic perspective accused of being involved in the 1976 military coup and assassination of General Murtala Muhammed, and from that of the officer’s wife,” Ojukwu said in October 2016.
“As far as I’m concerned, the wives are the real soldiers. They are the ones who suffer from whatever decisions their husbands make — whether on the battlefield or off it.
“Our objective was to show audiences, amongst other things, what the wives of officers had to go through. Military coups are our legacy. In some ways, we are still trying to recover from this.”
