Deja Vu

“Deja Vu” finds its way onto the streaming giant Netflix with its distinctly Yoruba-film production styles and storytelling, leaving viewers with mixed feelings about its overall execution. While the film may not reach the standards of mainstream cinema, there is a certain charm in indulging in such a simplistic movie.

The plot revolves around a seemingly happy couple whose bond is tested when the husband (Lateef Adedimeji) stumbles upon a DNA test revealing that neither of his daughters are biologically his. His wife vehemently denies any infidelity, setting the stage for a mystery that unfolds throughout the film. It is a premise that promises intrigue and emotional depth, but fails to deliver. Mostly because it succumbs to typical Yoruba-film tropes where heightened drama is a key and necessary ingredient.

Lateef Adedimeji plays the husband who discovers his wife’s infidelity. However, it is hard to determine if his exaggerated gestures and mannerisms are intentional acting choices or just a necessarily evil for Yoruba movie performances at this point. Regardless, these exaggerated elements detract from the authenticity and believability of his portrayal, making it difficult to fully invest in his character’s journey. Same can be said for most if not all of the actors in this movie.

In terms of pacing and structure, “Deja Vu” suffers from unnecessary elongation. The 87-minute runtime feels bloated for the story being told, and the film could have benefited from tighter editing and a more streamlined narrative. Certain scenes and subplots seem to meander, adding little value to the overall plot and stretching the film’s duration without purpose. Speaking of subplots, the manner in which the other couple, with Yemi Blaq as the husband, is included in this film raises questions in the minds of the audience that serves to reduce the mystery of the movie. As their mere presence, which is initially a narrative thread that feels disconnected, ultimately gives away crucial plot points.

On the technical front, “Deja Vu” exhibits production quality that feels trapped in the aesthetic trends of the 2010s. While some viewers may find nostalgic comfort in this, others may long for a more contemporary and visually polished experience. It is a reminder that the film industry is ever-evolving, and Nollywood has the potential to push boundaries and elevate its production values further.

In conclusion, “Deja Vu” is a simplistic Nollywood offering that struggles to rise above its limitations.