Despite all these, My Father’s Shadow is not a dirge. Its fragmented form allows for moments of tenderness and beauty, even humour. These flashes underscore the resilience of ordinary Nigerians, who, despite betrayals by their leaders, continue to love, to sing, to imagine futures for their children.
Movie Review
My Father’s Shadow is not a film that tells you what to think about 1993 or about Nigeria’s long arc of disappointments. It’s a film that teaches you how to feel history: to smell it, taste it, hold it against your ribs. It’s a portrait of a father whose love is messy and incomplete, and a nation whose promises frequently arrive late or not at all.
For a movie that runs for two hours, its pacing is incredibly rushed, with timelines not clearly delineated. Jaiye proposes to Adaora within two months of dating her, and they get married with very little on-screen chemistry allowed to truly develop. What is even more implausible is how such a successful business woman is forced into such a naïve and juvenile arrangement, where she cannot spot the glaring ulterior motive, external pressures be damned.
In Freedom Way, writer-producer Blessing Uzzi and first-time director Afolabi Olalekan collaborate on what might…
Kemi Adetiba’s ‘To Kill a Monkey” has every ingredient that makes for an engaging crime thriller; tension, intrigue, impressive visuals, layered characters, high stakes, tight pacing, heightened soundtracks and narrative density.
Francois wants the head for its priceless historical value and for the feeling of power it accords. This leads to the relentless cycle of death and violence that ensues, signifying how greed and power always spill over to cause havoc. This is further amplified by the existence of corruption and lawlessness in places that should be pillars of justice.
They are ‘traps’ which the viewers should not be able to easily detect, and they must truly inspire misdirection and doubt. Without this apparent sense of jeopardy, a murder mystery loses its capacity to elicit and maintain tension.
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Technically, the film excels in its simplicity. The sound design is clean and immersive, especially during radio scenes, which are used effectively to externalize Uche’s inner thoughts. The editing is tight, avoiding unnecessary melodrama while still preserving dramatic tension. The film’s score is understated but emotional, punctuating key scenes without overpowering them.
However, if I turn a blind eye to these inconsistencies, I would place Baby Farm as one of the most thrilling offerings from the Nigerian film industry. There is a seamlessness to the production that doesn’t feel forced. Characters, through the actors, come to life in this
Chioma and Obiora are instantly enamoured of each but after a few dates, her feelings for him start to thaw — not because she’s still in love with her ex-boyfriend, Chris, or because she discovers something distasteful about Obiora’s past, but for a very silly and flimsy reason: Obiora’s Igbo accent.
Two exceptions stand out: Olarotimi Fakunle as the prison warden, Marshal, and Itele D Icon as Suky’s mentor, Ijaya. Fakunle delivers a commanding performance, infusing Marshal with a chilling blend of authority, humour, and menace. His presence looms over Aja Prison, making it clear why lawlessness thrives under his watch.