The idea is to create, immediately and vividly, a tapestry of perspectives and personalities that all begin to inform the ensuing mystery. The earliest moments, which bring together families of wildly different socioeconomic statuses, straddle the line between comedy and horror as we find ourselves laughing at an impromptu dinner speech one moment and wincing at domestic abuse the next. The Blood Sisters is a 2018 Philippine drama television series directed by Jojo Saguin, starring Erich Gonzales in three characters: Erika, Carrie, and Agatha. There’s nothing especially complicated here, but Blood Sisters does a decent job of sketching quite a dense network of characters whose relationships – familial, platonic, romantic – seem to have developed organically out of this close-knit community. Between the law, Kola’s wealthy family, and some other interested parties, Sarah and Kemi are pursued on all sides as they descend deeper into the seedy underside of Lagos and begin to lose more and more of themselves as they go. special effects supervisor (4 episodes, 2022) Series Visual Effects by Sarvesh Amre. set dresser (1 episode, 2022) Series Sound Department Series Special Effects by Carina Ojoko. Plot-wise, and I’ll keep this deliberately vague, Sarah (Ini Dima-Okojie) and Kemi (Nancy Isime) are two best friends on the run after the mysterious disappearance of Sarah’s powerful pharmaceutical CEO fiancé Kola (Deyemi Okanlawon). production manager (4 episodes, 2022) Series Second Unit Director or Assistant Director Series Art Department Tejuola Abrahamson. It isn’t a faultless ride – the acting and writing are both inconsistent, characterization is sometimes a little cartoonishly broad, and the plot doesn’t stand up to much scrutiny – but it’s well worth experiencing all the same. Blood Sisters primarily tells the story of two best friends, Sarah and Kemi, who become fugitives after murdering a man. It’s the perfect bite-sized binge proposition at just under four hours, rockets along at quite a pace, doesn’t outstay its welcome, and is a legitimate offering from somewhere other than the U.S., the U.K., or Europe that is steeped in its native culture. In South Africa, Zulu has written and plotted award-winning shows including Generations, Rhythm City and Isibaya among others.Blood Sisters, a four-part Nigerian limited series on Netflix, feels like exactly the kind of thing streaming services were invented for when you think about it. “We also had virtual viewing tours of the places that they were shooting at, just to get the look and feel just to get ideas to stimulate possible scenarios because a location can inspire a storyline.” She said the process of working with Abodu included being given people who had an authoritative voice in Nigeria who would read everything they wrote and giving tips along the way. Zulu who wrote her first feature film along with Mfundi Mvundla, Blues of Azania, a poignant story of a Zimbabwean illegal immigrant trying to make it in South Africa, said that it was very difficult to get to the nitty-gritty while writing Blood Sisters. “They said that even though I’m not Nigerian a story is a story, and they said that I fit what they were trying to achieve”. Zulu told Theto Mahlakoana on Inside EWN that although she had worked as a consultant outside of South Africa, her name was thrown in the pot to be part of the Blood Sister project as the producer, Mo Abodu, reached out to her saying that they wanted to create something authentically Nigerian, even though she is not Nigerian. South African film and television writer Zelipa Zulu is part of the reason why the series has enjoyed some cushioning of good comments and reviews from viewers. The crime and thriller series - which is currently streaming on Netflix follows the story of best friends, Sarah (Ini Dima-Okoje) and Kemi(Nancy Isime) who become fugitives right after Sarah’s husband-to-be Kola (Deyemi Okanlawon) disappears on their wedding day. JOHANNESBURG - It took Nigeria’s first Netflix mini-series Blood Sisters to change the narrative of Nollywood being described as a small production involving poor camera quality, amateur actors and poor sound quality.
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