Nollywood actor Uzor Arukwe has publicly addressed ongoing criticisms regarding his on-screen romantic interactions with married female co-stars, outlining a personal protocol he follows to maintain professional boundaries. The actor’s comments come amid specific audience discussions about his chemistry with colleague Bambam in the film ‘Love In Every Word.’
Speaking in a recent interview with BBC Igbo, Arukwe explained that he proactively seeks explicit consent from his female co-stars, particularly those who are married, before filming any intimate scenes. He stated this practice is a deliberate measure to prevent any potential marital discord for his colleagues stemming from their professional roles. “Before filming, I ask my co-lead actor if it is okay to touch them in a certain way, especially the married ones because I don’t want them to have problems at home,” Arukwe said.
He specifically addressed the speculation surrounding his partnership with Bambam, clarifying that their on-screen relationship is strictly professional. Arukwe confirmed he had no prior acquaintance or personal relationship with Bambam before they were cast together in their first film. Their subsequent collaborations, including ‘Love In Every Word,’ are the sole basis for their perceived on-screen rapport.
This practice highlights the nuanced challenges within Nollywood, Africa’s largest film industry by output, where rapid production schedules and frequent romantic storylines can sometimes blur professional and personal lines for audiences. While the industry does not universally employ dedicated intimacy coordinators—a role becoming standard in other major film sectors—Arukwe’s self-imposed consent protocol represents an individual effort to navigate these sensitive dynamics.
The actor’s revelation serves as a case study in on-set professionalism within a context where clear guidelines for intimate scenes are not always formally established. His approach directly counters any assumption that off-screen relationships exist to enhance on-screen chemistry, emphasizing instead a respectful, consent-driven process during production.
Arukwe’s comments underscore a growing, albeit informal, discourse among some Nollywood practitioners about the need for greater sensitivity in filming romantic and intimate content. By framing his actions as protective of his married colleagues’ personal lives, he positions professional consideration as a priority over perceived dramatic necessity. This stance may contribute to broader conversations about implementing structured protocols for intimate scenes across the industry, aiming to protect all performers from undue scrutiny or personal fallout stemming from their work.
The discussion initiated by Arukwe points to a potential shift towards more transparent and respectful practices on Nigerian film sets, reflecting global trends while addressing unique local industry pressures. His experience suggests that such measures can be implemented individually, even within a fast-paced production environment, to foster a safer and more professional atmosphere for all involved.
