Why ‘The Herd’ is more than just a movie; it’s a conversation
In the last week, Netflix’s newly released movie ‘The Herd’ has been a topic of national discourse, with many offering their perspectives on the movie plot, Weekend Trust writes. Set in Ekiti State, Nigeria’The Herd’ begins with a couple trying to disappear from their wedding ceremony after being overwhelmed by the love and joy from […]
In the last week, Netflix’s newly released movie ‘The Herd’ has been a topic of national discourse, with many offering their perspectives on the movie plot, Weekend Trust writes.
Set in Ekiti State, Nigeria’The Herd’ begins with a couple trying to disappear from their wedding ceremony after being overwhelmed by the love and joy from their guests. It’s cute and chaotic at first, but they do not know that the journey ahead of them wouldn’t be so pleasant; in fact, the joy ends faster than NEPA light.
Many things flooded my mind as I watched this 2-hour thrilling drama, and while I’m keen to share my perspective, I must reiterate that every other viewer is allowed to watch and feel whatever the movie pulls out of them.
First on the board, I must give a standing ovation to all cast members. It was exciting to watch everyone deliver their roles with such authenticity, especially the kidnappers. Halil, Anas and Yakubu commanded fear from the audience just as they did to their victims in the movie. Their presence alone carried tension like a loaded gun. Genoveva Umeh’s performance as she watched her husband being chopped to slices was excellent to a T, “as the Gen Zs will say.” Linda Ejiofor as the wife struggling to keep her husband alive was genuinely touching; you could feel her panic in your chest.
Secondly, the use of different languages and play on different tribes delivers a perfect blend of cultural diversity, allowing viewers to interact not just with one particular language but with several others. It was also applaudable to see how Gosi, played by Daniel Etim Effiong, was knowledgeable in two different languages, allowing him to listen in on the kidnappers who spoke in Hausa and the other captives who were Igbo. That alone raised the stakes, because you could see how information became a form of survival.
Behind the general story of the movie, which was the kidnapping, ‘The Herd’ gives an insight into how these operations are run and the type of emotions that fly around among both the captors and the victims. For the captors, they are filled with excitement and drive as they await their ransom payments. The victims are drowning in fear and panic for their lives. The family is burdened with raising these exorbitant amounts, and the police are pressured to find the victims and bring them home alive. The movie doesn’t just show the crime; it shows the emotional ripple effect that touches everybody connected to it.
One can also see that the kidnapping is just one string in these wide-webbed organisations. These rings are tied to organ traffickers, drug deals, weapons and arms sales, etc. During the ransom calls, large amounts of Indian hemp and cigarettes were requested. Considering Halil led a very small camp, it is impossible they could consume the amount requested. The only logical conclusion is trading with other kidnapping rings for guns or money. It subtly reveals how crime survives in Nigeria, not in isolation, but as a marketplace.
Another interesting plot was the clash of ideals between Halil and Anas. While Halil displayed a calmer presence, Anas was ever willing to shed blood. Based on intent, Halil just wanted the money, but Anas was a true soldier for the cause, violence first, questions later. This was seen when Anas carelessly shot one of the captives, despite Halil’s earlier warning that they meant more alive than dead, even though they had already “made sales” of those they shot earlier.
There’s also the issue of hierarchy, factions and trauma bonds in these kidnapping rings. Halil had earlier appeared to be a leader of his own, but as the movie progressed, we are introduced to the Sheik; Halil’s boss, who felt double-crossed by his former soldier. This disrespect of hierarchy is what leads to Yakubu’s appearance in the final scene, as he came to avenge the death of his boss. It’s no surprise that these groups often have factions made up of soldiers hungry for more; more blood, more money or more power. Halil’s kidnapping scheme was born out of a desire to own more weapons and become more feared. If he hadn’t broken out of Sheikh’s group, perhaps the entire tragedy could have been avoided.
While there’s a public outcry that the Hausas/ Fulani Muslims were stereotyped, I move to say that this will be the impression of a viewer who didn’t pay attention to other key elements of the crime that was committed. For instance, Grandma, who told the kidnappers that the police were coming, was Yoruba, just like the organ traffickers. The church pastors involved in the organ-harvesting scheme also showed that sometimes even religious leaders are not as holy as they seem. Among the kidnappers too was someone who spoke Yoruba, showing that these terrorists are of different tribes and do not belong to a select ethnic group as often assumed. And if that be so, then we would have an even bigger outcry from other parts of the society who may also feel wrongly portrayed.
In all, ‘The Herd’ doesn’t just tell a story; it drags you into a world that feels uncomfortably close to home. It forces you to sit with the chaos, the fear, the greed, and the humanity buried somewhere under it all. Whether you walk away shaken, enlightened, or simply wondering how deep these real-life networks run, one thing is clear: this film doesn’t fade once the credits roll. It lingers, asking questions the country has been too afraid to answer out loud.
Online ontroversy
Since its release, the movie has received its fair share of acclaim and backlash. While some believe that the story could have been told better, others applaud the plot and even the selection of cast.
On X, @M_Obaseki said, “I watched this scene and breathed a sigh of relief, thanking God it was just a movie. But then the cold truth hit me: for some people in Nigeria, this isn’t fiction; it is their exact reality.”
@DonCruisey_ said, “I finished watching #TheHerd around 4:30 AM this morning. It is indeed a strong reflection of what is happening in our country right now, so I don’t even need to say much about the storyline. The cast, the production crew, and the production design team all did an incredible job.”
@InfoSpace_OG said, It is very dangerous for us, as Nigerians, to always view issues through the prism of religion or ethnic affiliation. It clouds our sense of reasoning and judgement. This is especially true when it comes to religion. We will not move forward that way. We will continue to hate ourselves unnecessarily and without justification. Why do we have to hate ourselves this much in the name of religion and ethnic jingoism? This is both exhausting and frustrating. That said, what exactly is the problem with The Herd movie that is triggering all these reactions? I am a practising Muslim, just like everyone else, and I see absolutely nothing wrong with the message the movie conveyed. It is simply a reflection of our realities. Almost all the major ethnic groups were represented, and the message was clearly delivered. It is just a pictorial expression of what we are facing today. Forget whether you are Yoruba, Hausa, or Igbo. Are all Northerners bandits? NO! Do all Yoruba Southerners trade human parts? NO! That expressed our realities & you’re still denying! We had no problem with Gangs of Lagos, King of Boys, or To Kill a Monkey, despite the alleged profiling in those films.
However, former President Muhammadu Buhari’s Special Assistant on Digital Communications, Bashir Ahmad, was not afraid to voice his disapproval of the film. He claims that the film’s depiction of Fulani herders raises questions about stereotyping, explaining why Arewa audiences are upset about it.
He wrote in an X post that northern audiences were worried about how the film portrays a whole tribe already impacted by years of instability rather than disputing the existence of banditry. Additionally, he claimed that the teaser gives the idea that people may become even more suspicious of harmless pastoralists.
A part of his post reads, “The truth is this, it is true and verifiable that some of the bandits terrorising innocent people and our communities are Fulani. We have consistently and openly acknowledged that, called them out, condemned their atrocities and demanded that authorities deal with them mercilessly. Yet the overwhelming majority of Fulani herders are innocent and also among the very victims that have suffered the most from these terrorists. Many have lost their cattle, their livelihoods and their families. So producing a movie to profile them all as armed kidnappers only reinforces a harmful stereotype that fuels suspicion, resentment and even violence against innocent people.
“Film and media carry immense influence; they shape global perceptions and frame narratives, especially about communities that are poorly understood outside their regions. Instead of the producers of The Herd helping the world understand the complexity of Nigeria’s insecurity, the movie falls into the trap of blanket judgement. When such an international movie portrays a one-dimensional story, millions of viewers around the world walk away believing that every Fulani herder is a terrorist and that is how stigma is created. That is how innocent people become targets of discrimination and harassment.”
Another X user, @Nicegirljojo, wrote, “Just finished watching “The Herd” and honestly? I’m tired. The way Islam and Arewa keep getting painted in the darkest light is exhausting. Yes, these things happen, but the constant one-sided portrayal isn’t helping anyone. Muslims deserve better storytelling than this.”
Expert views
This won’t be the first time a Nollywood film will be hit with unjust stereotypical claims. In 2023, the Isale-Eko Descendants Union sued the makers of Gangs of Lagos for misrepresenting the Eyo Festival and Isale-Eko community in its film. Following this, calls have been made for filmakers to take into consideration responsible storyteling so as to make sure no faction of people are portrayed in bad light.
Speaking to Weekend Trust, Filmmaker Chavalah Yaduma noted that authentic storytelling requires deep research, cultural awareness, and honest portrayals, treating every narrative with the same care you’d want for your own story.
She said, As an artiste, I think the idea of “responsible storytelling” is deeply subjective. In a country as diverse as Nigeria, what one culture sees as responsible, another may view as offensive, so defining a single standard is almost impossible. For me, the real responsibility lies in authenticity, taking the time to understand the world you’re portraying, doing proper research, and telling stories in the most honest and human way you can. I believe we should treat every project with the same care and sensitivity we’d want someone to bring if they were telling our own story.
Not to sanitize or distort anything, but to reflect life truthfully, because that’s ultimately what art does: it imitates life in all its beauty, flaws, and complexities.”
When asked if the fil industry should create guidelines for culturally sensitive storytelling, or an artistic choice, she said, “You cannot dictate to artists or filmmakers how to tell their stories, and creativity cannot thrive under rigid rules. Guidelines tend to water down authenticity and push filmmakers into “safe” storytelling. What we truly need is better research, honest engagement with the communities being represented, and open conversations about portrayal, not censorship or policing. Filmmakers should have the freedom to create, and communities should have the space to voice their concerns, but that balance is something we achieve through dialogue, not imposed rules.”
Veteran filmmaker Obi Emelonye who spoke on what responsible storytelling will mean, said “The creative arts are intrinsically subjective. Feature films and documentaries more so than others, mainly because of the power of their immediacy and their uniquely combined use of visual and auditory stimulations. From the moment you decide to choose one subject matter over another, you have already become subjective. Then you choose what subject to turn your camera and how to edit the mass of footage you get- what makes the cut and what doesn’t. So it is virtually impossible to force filmmaking into politically correct and convenient straitjackets. So the responsibility for the authenticity of the story lies with the producers and just like everything they must get right, if the get this wrong and miss the pulse of some people with their storytelling, they should admit and apologise. My experience however, when I made a film about IBB called BADAMASI was that no matter how much prudence you put into responsible storytelling, there must be someone who is riled by your take on a particular subject. The question then is how much uproar does a story need to cause before the complaints of that disgruntled segment of its viewers become valid. The truth was that most of the people that complained about my treatment of Babangida in BADAMASI did not ever watch the film. They became echo chambers for vitriolic opinions that felt editorially entitled.
He also added, “ There’s nowhere else in the world where a culturally inclined guidelines exist in a democratic sense. What it morphs into is extreme cultural and political censorship- the type that exists in China and not Korea. Creativity should be unleashed. There may be chances of getting it wrong sometimes by the creators. But the thought of censoring and restraining them with cultural oversight organisations is both scary and ultimately unproductive.”