L.I.F.E

Over the years, Nigerian filmmakers have explored the “Freaky Friday” or “Body Swap” genre/trope in several notable films. Examples include “My Wife and I,” directed by Bunmi Ajakaiye and “Switch,” directed by Willis Ikedum. This genre typically involves characters undergoing an unexpected switch of bodies, leading to comedic scenarios as they grapple with living in someone else’s shoes, quite literally. 

In “L.I.F.E,” Uyoyou Adia skillfully incorporates a familiar trope but presents it in a fresh, innovative way. While the film features elements audiences may have encountered before, particularly the common plot device of body swapping, it offers an original and refreshing take on the concept. Unlike most body swap films that primarily focus on humor and the challenges of swapping bodies, Adia, both the director and writer, flips the trope’s expectations and introduces a unique thematic approach, setting it apart from other works that utilize similar tropes.

“L.I.F.E.” impresses with its visual storytelling and a soundtrack that heightens emotional moments. The film stays focused, delivering its message without straying. The story flows naturally, drawing viewers into a thorough exploration without dragging.

L.I.F.E follows Emamode Oghenefergor (Omowunmi Dada), who clings to her childhood dream of becoming a dancer despite her flourishing advertising career. Simultaneously, Yinka Salami (Efe Irele), a dedicated dancer facing financial difficulties, regrets her career path and struggles to make ends meet. Their paths intertwine when they encounter a mysterious older woman who grants their wishes, leading to a series of unexpected events as they uncover hidden truths about themselves. As they each attain their long-desired dreams, they must confront whether these newfound realities will harmonize with their aspirations or if fate has a different plan in store for them.

The film kicks off with the right vibe and focus, showcasing strong direction, particularly in its engaging opening hook. However, it loses momentum in the middle and towards the end, marked by extended, uninspired scenes with predictable outcomes. The movie commences with a dance performance by Ema. Amidst her supposedly graceful movements, an unseen audience boos her. This scene serves as a poignant reflection of her aspirations and inner struggles.

The film falls short of being terrible, yet it also lacks greatness, primarily due to the absence of convincing stakes for the main characters, particularly Omowunmi Dada’s character. Throughout the movie, there’s a noticeable lack of scenes where she genuinely fears losing her job; instead, it feels like she could effortlessly secure another position or she is too skilled to face dismissal. Even her contemplation of starting her own agency fails to evoke personal stakes akin to life or death. 

Conversely, Efe Irele’s journey, reflective of the struggles many Nigerians face amidst high unemployment rates and economic instability, offers a more relatable narrative. Omowunmi’s character’s supposed ability to overcome challenges contrasts with Irele’s more palpable desperation. The characters’ challenges lack consequence, with no imminent danger or dire need for salvation. While the story attempts to convey otherwise, it falls short of truly engaging the audience in the characters’ struggles, visually. Although, the filmmaker’s intentions are evident, the execution misses the mark.

However, like with any body-swap tale, suspension of disbelief is required for enjoyment. Despite its familiar elements, the film delivers an engaging and fresh viewing experience, delving into cautionary themes that underscore the consequences of our desires. It serves as a reminder of the timeless adage, “Be wary of your desires, for they may lead to unforeseen consequences.”

In terms of performances, Tope Olowoniyan once again shines with her emotive and nuanced portrayal. As the film’s narrative starts to feel predictable and stagnant, her character becomes the anchor that carries the entire sequence through to its conclusion. Omowunmi Dada, in her role as Ema, delivers a decent performance portraying an advertising professional yearning to reignite her childhood passion for dance. Irele’s portrayal of Yinka also stands out, capturing the emotional turmoil of pursuing dreams in the face of adversity with authenticity. 

L.I.F.E demonstrates that revisiting tropes in African cinema isn’t necessarily a drawback. Many successful films rely on familiar tropes to captivate audiences. However, it’s crucial for filmmakers to infuse fresh and innovative elements, even when exploring well-worn themes or plot structures. Merely repeating tropes without introducing anything new can lead to predictability and a lack of originality, resulting in the film feeling stagnant or uninspired. Are there moments when L.I.F.E feels stale? Undoubtedly. Numerous scenes in the second act of the film lack inspiration and freshness. However, the film’s overall message justify persevering through these shortcomings.

L.I.F.E, while not flawless, encounters a moment of predictability that briefly interrupts its flow. However, this minor setback does little to diminish the overall impact and inventive reimaginings of familiar tropes. The deliberate decision to maintain a measured pace facilitates a gradual yet compelling exploration of character development, ultimately enriching the viewer’s engagement. This distinctive approach distinguishes the film within the realm of Nollywood’s “Body Swap” trope narratives, resonating with audiences and adding to the breadth and depth of African cinema’s storytelling landscape.