Esiri Brothers' 'Clarissa' Secures CANEX Funding and NEON Global Distribution Deal
The Esiri brothers, Arie and Chuko, have achieved a significant milestone in African cinema with their latest film Clarissa. CANEX Creations Inc. (CCInc), the intellectual property investment arm supported by Afreximbank's Fund for Export Development in Africa (FEDA), has announced a landmark investment in the Nigerian-produced feature film. This financing was provided in full by CCInc alongside MBO Capital, marking a notable shift in how African films are funded.
A Lagos Reimagining of Mrs Dalloway
Clarissa is a contemporary adaptation of Virginia Woolf's classic novel Mrs Dalloway, transposed to the high-society setting of Lagos. The narrative unfolds over a single day as Clarissa prepares to host an evening gathering at her home. As guests arrive, encounters with once-intimate friends provoke reflections on love, ambition, memory, and missed opportunities.
The film was shot entirely on 35mm film in Lagos and Delta State, a technical choice that underscores the filmmakers' dedication to cinematic excellence. This approach aims to create a visual aesthetic that stands alongside contemporary international cinema.
Star-Studded Cast and Creative Team
The film features an impressive ensemble cast led by Academy Award and Emmy nominee Sophie Okonedo, Golden Globe and BAFTA nominee David Oyelowo, and Emmy winner Ayo Edebiri. They are joined by India Amarteifio of Bridgerton fame, Toheeb Jimoh from Ted Lasso, Nikki Amuka-Bird of Knock at the Cabin, and other established performers.
Arie and Chuko Esiri wrote, directed, and produced Clarissa, building on the success of their debut feature Eyimofe (This Is My Desire), which premiered at the Berlinale and won multiple African Movie Academy Awards.
Revolutionary Financing Model
What makes this project particularly significant is its financing structure. Unlike many large-scale African productions that rely on foreign grants or external co-financing, Clarissa was financed entirely by Africa-based institutions before being acquired for distribution. This model positions African capital as the primary driver of development and production rather than supplementary funding.
Osahon Akpata, Chief Executive Officer of CCInc, emphasized the importance of this approach: "Clarissa exemplifies the type of globally resonant, IP-driven storytelling that CANEX Creations Inc. was established to support. The film combines literary heritage, world-class filmmaking, and African production capacity, while remaining firmly rooted on the continent. Its acquisition by NEON validates both the creative ambition of the filmmakers and the viability of Africa-backed financing structures for internationally scalable film content."
Global Distribution Through NEON
Ahead of its wide release, the film has been acquired for worldwide distribution by U.S. studio NEON, known for championing international and auteur-driven cinema. NEON will oversee theatrical release in the United States, with NEON International handling foreign sales. The studio's portfolio includes Oscar-winning and Palme d'Or-winning titles such as Parasite, Anatomy of a Fall, and Anora.
The deal was negotiated by NEON's Kate Gondwe, with UTA Independent Film Group representing the filmmakers. For CCInc, this partnership reflects a broader mandate to commercialize African intellectual property with clear export pathways.
Continental Vision and Impact
For the Esiri brothers, having continental backing was central to the project's vision. Chuko Esiri explained: "From the beginning, it was important to us that Clarissa be both rooted and resourced on the continent where it is set. Having African institutions back a film of this scale reflects a growing confidence that our stories can be produced from within."
With African institutions financing production and a major U.S. studio leading global distribution, Clarissa represents both a literary adaptation and a test case for a financing model that keeps ownership and capital anchored on the continent while accessing international markets. This development signals a potential shift in how African cinematic content is created, funded, and distributed globally.
