Seven Doors, Femi Adebayo’s limited series streaming on Netflix, begins eerily. Seven women mysteriously sleepwalk to the edge of a waterfall from where they plummet to their death. The stunning and ominous scene foreshadows the spooky and disturbing events that unfold throughout the series.
Set in the fictional Ilara Kingdom during the 18th and 19th centuries, Seven Doors tells the story of Adedunjoye (Femi Adebayo), a simple man thrust into the complexities of kingship. The plot revolves around his ascension to the throne, which he initially resists but eventually accepts. This leads him into a world where his every decision has profound consequences on the lives of the community.
Before Adedunjoye took the throne, the community was in unsettled and almost toppling into chaos due to the greed and lawlessness of some prominent chiefs. His enthronement brings order to the community. But it doesn’t take long before disasters strike.
The narrative is rich with themes of love, loyalty, betrayal, and the weight of ancestral sins. With each episode, Adedunjoye encounters personal and communal disasters that deepen the narrative. The first episode (Door Threshold) and the second (Door Jamb) hastily but adequately set the tone for the chaotic incidents of the movie. Misfortunes befall Adedunjoye’s household and community in the slow-burn third episode (Door Frame) and fourth episode (Door Lock), which merges present-day scenarios with flashbacks.
Through the poetic narrative of the Ifa priest Olonjongbodu (Ganiu Nafiu, popularly known as Alapini), a sage who narrates the nefarious history of King Adejuwon, we learn about the evil deeds of King Adedunjoye’s forefather and the metaphorical Seven Doors. The tension is heightened in the fifth episode (Door Swivel) and the closing episode (Door Peephole).
The screenplay, written by Yinka Olaoye, Olugbemiga Soyombo-Oluyombo, and Adebayo Tijani, though decent, sprawls too broadly with numerous subplots that sometimes distract from the central storyline about King Adedunjoye’s rise, the ensuing political intrigue, and ancestral sins. Hence it struggles to maintain a clear, cohesive purpose, allowing secondary characters and their perspectives to almost overshadow the protagonist.
The performances range from captivating to theatrical. Femi Adebayo delivers a decent performance as the troubled King Adedunjoye. He captures the essence of a king who is both regal, relatable, and vulnerable, torn between his duties and his heart. Chioma Akpotha, as Queen Amaka, brings a serene strength to the chaos in her household. Her chemistry with Adebayo provides some of the series’ most emotional moments when their family is on the brink of collapse.
Muyiwa Ademola, as the desperate Prince Adeoye, is menacingly effective. He embodies the scheming prince with a depth that makes us question the nature of power in the hands of the callous and affluent. Gabriel Afolayan brings his characteristic charm and gravitas to his role, though his performance almost slips into the theatrical when the tension boils. Aliu Gafar’s portrayal of Esusu is menacing yet captivating. His character is both the antagonist and a tragic figure, driven by revenge against the humans who wronged him. Gafar’s intensity in scenes where Esusu interacts with the mortal world adds a terrifying mood to the series, making the mystical elements feel palpable. Besides these few exceptions, other actors’ performances lean more towards the stage rather than the screen, resulting in exaggerated expressions that feel forced.
The directorial approach of Femi Adebayo, co-directing with Adebayo Tijani and Tope Adebayo, respects their Yoruba roots while pushing its cinematic boundaries. The directing style here is paced and pays attentionin character study. While not didactic, the directors ensure that the cultural and moral complexities of the story are not lost in the grandeur of the tale.
One of the obvious problems, however, is the pacing. Episodes 3 and 4, while they ground the story, could have been faster paced. The initial build-up of characters perhaps stretches a bit too long. Yet, this allows for richer characters’ development, which pays off in the series’ latter half.
**Michael Kolawole is a screenwriter, playwright, and cultural journalist/critic. Catch him on X @mykflow
