(2018) Comedy (Netflix) Genevieve Nnaji, Nkem Owoh, Pete Edochie Onyeka Onwenu, Kanayo O. Kanayo, Ngozi Ezeonu, Kalu Ikeagwu, Chibuzo “Phyno” Azubuike, Jemma Osunde, Sani MU’AZU, Yakubu Mohammed, Peter Okoye, Chika Okpala, Oramulu Peter, Clemson Agbogidi, Chudi Nwafo, Stan K. Amadi, Obi Jane Nkechi, Uzodinma Umeh, Okwesileze, Steve Eboh. Directed by Genevieve Nnaji
Africa is a diverse and beautiful continent. There is veldt and jungle, mountains and deserts, modern urban metropolises and dirt-poor villages. There is no pigeonholing a continent, and the more glimpses we get into the daily life in various African nations, the more we come to realize that we have a lot in common with them.
Nigeria has a film industry known as “Nollywood” that has made some headway under some pretty tough obstacles. Their economic struggles in the Eighties led to nearly every movie theater in the country being closed down. Their movies are largely distributed on tape and disc, and while streaming services are beginning to make headway there, the infrastructure makes Internet availability spotty particularly in the more rural areas of the country.
One of that country’s brightest stars is Genevieve Nnaji. She not only stars in the first Nigerian film to be distributed on Netflix, but she also directs and co-wrote the script. She plays Adaeze, a smart, ambitious woman working in her father’s (Edochie) transportation company. Even though she’s more able than most men, she is often met with derision and hostility; her ideas are often rejected out of hand and from time to time men in the male-dominated industry expect sexual favors from her in exchange for their cooperation. When her father takes ill, rather than pass on the leadership reins to his infinitely qualified daughter, he instead passes it on to his eccentric brother (Owoh) who has some interesting ideas about leadership.
Adaeze’s frustration further grows when she discovers that the company is in a precarious financial position. Her father, perhaps unwisely, took out several loans which the bank has called. They have 30 days to pay it back before they lose everything. She will have to figure out a way to team up with her uncle if they are able to save the company from predators both from without – and within.
Nnaji is an almost regal presence in the same way Angela Bassett is. Beautiful and elegant, she has a screen presence most American actresses would envy. She has a knack for the light comedy of the movie, and while she is no Kate McKinnon, she nonetheless knows what she’s doing in a comedic role. Owoh is definitely the comic presence here, however. Nnaji is essentially his “straight man.” The humor isn’t outrageous or over the top, but more a gentle ribbing of the foibles of life – a very African viewpoint, in other words.
The family dynamics of the Obiagu family are what make the movie really worthwhile. There is a good deal of bickering but there is also a good deal of love – in other words, just like families everywhere. Of course, it’s not exactly headline news that people are people everywhere you go, but it’s nice to see the people of a different culture share their similarities as well as the things that make their culture unique.
REASONS TO SEE: A glimpse at urban African life.
REASONS TO AVOID: A somewhat pedantic plot.
FAMILY VALUES: There is some occasionally rude humor.
TRIVIAL PURSUIT: The movie was the official submission by Nigeria for Best Foreign Language Film for the 2019 Academy Awards but ended up being disqualified since it was determined that the bulk of the film was in English.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 5/27/20: Rotten Tomatoes: 100% positive reviews, Metacritic: No score yet
COMPARISON SHOPPING: The Gods Must Be Crazy
FINAL RATING: 6.5/10
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