The Origin: Madam Koi-Koi (Chapter 2: The Spirit of Vengeance)

The first chapter of the Netflix horror series, The Origin: Madam Koi Koi enjoyed the good graces of audiences across Nigeria as it was well received and praised on social media. This was partly due to nostalgia; the thrill of a Nigerian urban legend and the promise of a good plot. It was therefore no surprise that the second chapter was highly anticipated, and it was released one week later, to high expectations. However, for a second chapter that was highly anticipated, how does Chapter Two: The Spirit of Vengeance fare?

The second chapter unfolds with a gripping scene in Malomo, where a dead body surrounded by a group of villagers and a chief priest making incantations, sets the stage for a narration by Baba Fawole (Jude Chukwuka). Through this narration, we are introduced to the dark history between Madam Koi Koi (Omowunmi Dada) and the village. As intriguing as the story by Baba Fawole is, it is his voice that piques my interest. The voice sounds younger than the usual voice of Baba who is slower with his speech. This could be excused if the narration was by his younger self but the reverse is the case here. While this brings up some confusion, it is just the beginning of other inconsistencies that mar the second chapter.

Storytelling is the core of every film and the first chapter excelled in this regard. It is quite uncommon to see films weave through complex topical issues within their plot without derailing but the first chapter did so with ease. Therefore, it was only natural that the second chapter builds on the established story to offer a more balanced and in-depth plot development. Contrary to expectations, the second chapter is riddled with various plot mishaps.

There are various variations of the Madam Koi Koi urban legend and in one of them, rape is an instrument of humiliation, and the series follows this trope. This gives the series a subplot centred on the rape-and-revenge arc. However, this is where the problem lies; the rape is never a topic of conversation that is addressed, neither is it tied to the reason why Madam Koi Koi keeps targeting its perpetrators. There are no questions asked about why such small town has that number of rape cases. Therefore, there’s no focus on the act but on the fact that Madam Koi Koi needed to be stopped. The plot could have also done better justice to the issue of rape as a societal problem beyond just the punishment from a ‘vengeful spirit.’

Despite the choice to place that much focus on the activities of Madam Koi Koi, her presence is not felt within the larger school community with the exception of Amanda (Martha Ehinome), Baba Fawole, Sister Ruth (Chioma Chukwuka) and Mother Superior (Ireti Doyle) who are involved in some way. Hence, there is no tension in the school where a fair amount of the rape takes place. This is also where the imbalance of the rape-and-revenge plotline plays out: We observe the rape, at least until undergarments are forcefully removed — a questionable decision that may disturb certain viewers and, arguably, could have been omitted during the editing process but the camera suddenly becomes skittish when the day of reckoning comes for the perpetrator.

There is also the question of verisimilitude: the appearance of being true or believable. We’re made aware of the close-knit relationship between Amanda and her mother Omolewa (Bolaji Ogunmola) but even when Amanda’s life is in danger of Madam Koi Koi, Inspector Theophilus Achebe (Deyemi Okanlawon), Fawole, and Amanda lead Omolewa to believe that nothing was wrong with the girl and she was not in trouble. Why would they also take her to a priest (Fajimi) who goes on to take a blood sample for sacrifice without the consent of her mother? And how did Fawole know about Amanda’s nightmares of Madam Koi Koi?

More so, Inspector Theophilus’ sudden change of heart, following his regular encounter with a prostitute who affirms the authenticity of stories about Madam Koi Koi, is perplexing. What elements in their relationship prompted the officer, who had consistently dismissed substantial evidence before, to now place such trust in her testimony? It is also surprising that a student dies in school and there is no panic among parents and students; especially the victim’s parents.

In keeping up with inconsistencies, the film suffers a few with continuity. For a film that is set in the ’90s, it is all but convenient that a catholic nun wears nail polish. There is also something puzzling about the corpses left behind by Madam Koi Koi. The first chapter shows us that her victim’s bodies are so mangled and mutilated beyond recognition. However, the three victims’ faces that are shown are recognizable; with only blood splattered all over them and their bulging eyes being what tells the story of a gruesome death. Another surprise is the fact that Sister Ruth remains the same even after 20 years, while Fawole himself had gone through noticeable changes due to old age.

The resolution of the conflict is anything but satisfactory as it raises a few unanswered questions. How did Baba Fawole survive without a scratch after being hit on the head with a big stick by Mother Superior’s assistant, Ige? Why was Mother Superior so attached to the school that she would cover up rape and even try to kill for it? What measures were put in place to ensure Madam Koi Koi wasn’t coming back?