The Hausa films do face a lot of challenges from scholars, clerics and parents with regard to their theme, plot, costume, language, characters and characterizations. Whereas, some viewers argue that the films do not portray the customs, norms and values of Hausa society they claim to belong. While some of the producers and characters argue that there is nothing wrong in the films, because to them, they are putting in their best to educate, and entertain the society. As a result of the above argument, this research entitled “Hausa Films of 2000-2017:An Analysis of Their Forms And Features” attempts to study Hausa films with the view of passing an academic judgment. The research thereforeselected ten films from various perspectives and analysed them. Ethnography theory is the theoretical framework for the analysis of the data. The methodology used employsdescriptive method. Data for the research were gathered from thequestionnairesadministered and oral interviewswere conducted with the stakeholders and some scholars in the academia, alarge number of questionnaires were administered, those retrieved were used for analysing the data. The analysis of the data was based on the five basic features in studying films, which are adopted from Haruna (2012). The research was able to discover that some Hausa films lack originality in the storyline(plot), because they are an imitation of European or Indian cultures. Furthermore, some of the films portray other non-Hausa cultures within the Nigerian society. The research also identified that, what the producers are after is the monetary gains not the representation of Hausa norms and values. It was also discovered that a substantial percentage of the characters are non-Hausa natives and therefore most of the foreign cultures infused into Hausa films might have emanated from them. While a number of producers‟ only concern themselves with the monetary proceeds realized from the films.

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