Kelani has made films of different genres; mixing styles, creating a new reality of cinema, and working with independent writers. He has also made some gripping non-biopic films. Yeepa! Solarin Nbo, adapted from Femi Osofisan’s stage play of the same name, is a comedy of errors and manners on the honesty and courage of the late educationist, Tai Solarin. His latest movie, Ayinla, is a blend of three artists. The subject is the late Apala music maestro, Ayinla Omowura; the actor is Lateef Adedimeji; and the director: Tunde Kelani. For Ayinla, the film is a form of resurrection. For Lateef, it’s a landmark performance in his career. And for Kelani, it’s another conquered milestone. With these films, Kelani cautiously connects the past with the present; he blends tradition with modernity for the audience to savour. Disguised as a complex allegory of a community kingship tussle, Saworoide reveals some elements of modern Nigerian politics. Though both films share the same attributes, Agogo Eewo is more political than Saworoide but not as gripping. Both films are political allegories of the military regime of late military dictator, Sani Abacha and the presidency of Olusegun Obasanjo. Subtly proposing the inclusion of traditional values in modern democratic practices, Kelani uses the mystical Saworoide and Agogo Ewo as objects for swearing and punishments, instead of using the Bible or the Quran.Kelani is fond of combining stars and masters with up and coming actors in his casting. As an auteur, Kelani creates new stars and revamps old-stagers. As he revamped Adebayo Faleti and Akinwumi Ishola, who were talented writers before they starred in Kelani’s films, Kelani made the filmmaker Kunle Afolayan and the actress Khabirat Kafidipe stars. Though a son of a legendary actor, Kunle Afolayan first starred in Kelani’s film, before he became a renowned filmmaker himself. Exalted theatricality, decorative images, colourful costumes, expressive performances and carnivals are some of the features inherent in Kelani’s films. Using audio devices like long monologues, poetry reading, chants and incantations, overlapping phrases, refrains and heteroglossia are also invariable elements in his films. All these elements are what make him one of the respected filmmakers and auteurs in Nigeria and Africa. Reference: Nollywood: T h e C r e a t i o n o f Nigerian Film Genres (2016) by Jonathan Haynes