Films often evoke feelings of nostalgia by transporting us back to a bygone era, rekindling memories of our childhood, and recalling moments from our past, often evoking a sentimental longing for a simpler time. As I watched the Tosin Igho-directed film, Suspicion, it reminded me of Lancelot Imasuen’s 2001 film, Issakaba.
Both films share similarities in the way they examine the use of juju (black magic) in Nigerian society, delving into themes of power struggles, corruption, and the consequences of seeking supernatural solutions to human problems.
However, both stories are anything but familiar. Co-written by Tosin and Kolade Igho, Suspicion follows the story of Voke (Stan Nze), a man whose life is shattered by the brutal murder of his best friend, Rogba (Uzor Arukwe) and his friend’s young daughter. Seeking vengeance, he delves deep into the sinister realm of black magic, only to find himself grappling with newfound powers and the moral implications of his actions. As he goes through this dark path, he must confront the ultimate question: how far is he willing to go?
The easiest term to describe Suspicion is genre-bending, as it combines elements from multiple genres — supernatural thriller, action, and a little bit of crime. The film is able to combine these elements admirably and as the plot progresses; tension is built enough to keep the audience invested in the story. For audiences looking for something different from the usual rom-coms and drama films that Nollywood constantly churns out, this is a welcome development.
As a supernatural thriller which examines the use of juju in Nigerian society, Suspicion is neither preachy nor judgmental. Instead it offers a composite view for the audience to form their own opinions and draw their own conclusions, thereby encouraging a thoughtful and reflective engagement with the subject matter.
Interestingly, the film takes an unconventional approach in depicting juju powers, diverging from the typical Nollywood narrative where incantations are used to summon entities. Instead, the characters in this film exhibit their powers, as if they are innate abilities, adding a fresh twist to the familiar trope.
Speaking of characters, the performances in this film vary. Nze’s performance as Voke is decent enough to keep audiences engaged. However, his visual cues especially facial expressions are monotonous. Despite their limited screen time, Tina Mba and Ron Mgbatogu deliver convincing performances as Voke’s parents. Especially the latter whose character is confined to a wheelchair and only speaks telepathically to his wife — his performance is so good that even though we only hear his voice through his wife’s thoughts, his facial expression matches his words. Omowumi Dada is another worthy mention as she embodies the character of Chisom, Voke’s girlfriend with admirable ease.
A fact that caught my eye as I watched the film was the production quality. As a supernatural thriller, lots of scenes were executed with visual effects and these scenes were neither sloppy nor haphazard. Whether it is Voke catching a bullet in his palm or people getting stabbed and slashed with a knife, the visual effects are a step up from what we’ve come to expect from Nollywood films.
Fight scenes are never easy to film and Nollywood films have been criticised for opting for karate style fight unlike the Nigerian equivalent which involves a lot of grabbing and throwing, which is why it’s called “gidigbo” (Yoruba traditional wrestling). Suspicion also toes this path, but it executes these scenes well as the fight sequences are well choreographed — just what you’d expect from an action film.
Sound design and cinematography are also notable highlights which elevate the overall viewing experience. The sound design complements the on-screen action, with crisp sound effects and a score that amplifies the tension. Meanwhile, the cinematography is equally impressive, with a blend of stark lighting and muted colors that create a gritty, immersive atmosphere which draws the viewer into the dark world of juju.
Suspicion is a film that is ambitious in scope and delivery and offers a pleasant viewing experience to audiences and despite its similarities with Lancelot Imasuen’s Issakaba, only time will tell whether it will become a fan favourite like the former.
**Joseph Jonathan is a film journalist and critic whose work explores the intersections of history, culture and film. He tweets @JosieJp3
