Obasi first came up with and began developing Mami Wata in 2016.[5] After writing a few drafts, he took part in a number of labs to help refine the script. In an interview with CNN, Obasi stated he "wanted to make a hyper-stylised film" with its style rooted in substance, taking inspiration from his favourite filmmakers such as Akira Kurosawa and David Lynch.[6] The characters Prisca and Zinwe were inspired by Obasi's late sisters. Production companies attached to Mami Wata include Obasi's Fiery Film Company, Guguru Studios, Palmwine Media, Swiss Fund Visions Sud Est and Ifind Pictures of France.[7]
At the Sundance Film Festival, cinematographer Lílis Soares won the Special Jury Prize in the World Dramatic Competition for the film's cinematography.[8] It also picked up three awards at FESPACO - Prix de la Critique Paulin S. Vieyra (African Critics Award), Meilleure Image (Cinematography Award) and Meilleur Décor (Set Design Award).[9] It was acquired by Dekanalog for North American distribution.[10]
On the review aggregatorRotten Tomatoes, the film holds a 100% approval rating based on 38 reviews, with a critics consensus that "Visually stunning and narratively stirring, Mami Wata uses its monochromatic palette to reveal a captivating, dreamlike world.".[11]
The Hollywood Reporter describes it as, "A vivid narrative and a dynamic study in color."[12]IndieWire said: "The extra time spent developing the film pays off on screen: From its opening title design to the last notes of Tunde Jegede’s score, Mami Wata is a work of art."[13]The Los Angeles Times said: "That balance between light and dark is how Obasi most potently underscores all his themes: faith and proof, tradition versus modernity, the otherworldly alongside the human, and of course, Mami Wata's power to give and take."[14]The Wall Street Journal said: "Mr. Obasi's script elevates folklore by subtly infusing it with political implications and a sardonic outlook on feminine vs. masculine power."[15]The New York Times Critic's Pick review said: "In Mami Wata, the archetypes are familiar, but they work to make this Nigerian film a distinctly economical masterpiece."[16]Matt Zoller SeitzofRogerEbert.com in his review, gave it a four-star rating (the highest) saying: "The film casts a spell, and the spell persists to the end."[17]
