Orisa

Orisa by Odunlade Adekola joins the ranks of Nollywood films celebrating Nigerian culture. It’s like a trip back to ancient times, exploring the values and beliefs of African societies, especially in Nigeria. The movie features experienced actors alongside fresh faces, promising an epic adventure with a valuable lesson.

The film follow the journey of King Adefolarin, portrayed by Odunlade Adekola, whose clash with witches takes a dark turn, leaving his kingdom in disarray. As the king’s madness spreads, chaos ensues, attracting the attention of his long-time nemesis, Komokomo, portrayed by Femi Adebayo. The story unfolds with a mix of suspense and drama as Komokomo seizes the opportunity to not only disrupt lives but also challenge the now-mad king for the throne.

Orisa falls short primarily because of a significant shortfall in creative storytelling. Although the film boasts aesthetic appeal, thanks to the commendable efforts of the production design and cinematography teams, most notably in light design, its narrative fails to effectively leverage the imaginative and inventive elements present in the film’s hook (dramatic premise). This deficiency likely affected its overall quality from a narrative standpoint, leaving viewers craving more excitement throughout the journey.

The first twenty minutes of the film are intriguing, presenting a rapid emotional rollercoaster that successfully engages the audience. However, the film’s pace becomes its downfall, as it rushes from one scene to the next without pause. While initially exciting, this approach soon becomes exhausting, with the narrative hurrying through events without adequately addressing the core storyline. Once the film eventually slows, the revelation of the main problem is deeply disappointing due to the lack of creativity in exploring the story’s depth. Moreover, intriguing elements such as the witches and the king’s relationship with his mother are underutilized. These aspects could have added more depth and complexity to the narrative, enhancing the film’s overall appeal.

The inclusion of Woli Agba’s comedic relief in a tragic drama, while Odunlade Adekola’s lunatic displays with the village chieftain already achieved the intended impact, is superfluous. The repetitive nature of such elements in contemporary epic films within Nollywood lazily stretches the plot. Unfortunately, this cliche move is a common trend, often justified by the need for marketing elements at the expense of narrative depth, perpetuating a disheartening pattern in the industry.

“Orisa” by Odunlade Adekola fell short where “Jagun Jagun” by Femi Adebayo succeeded. “Jagun Jagun” goes beyond traditional storytelling, thanks to the obvious influence of “The Woman King” on the film. However, that’s where the power of having a good story/film reference comes into play. Notwithstanding, in “Jagun Jagun,” Femi Adedayo incorporates creativity in plot development, character portrayal, and narrative style that engages and captivates the audience.

Odunlade Adekola meets the expected standard in both direction and acting. The cinematography effectively captures pivotal scenes. However, the tribal marks on some characters appear unrealistic, resembling charcoal or black chalk rather than conveying believability.

The cast, including Nollywood veterans, delivered as expected in terms of acting. Femi Adebayo and Shaffy Bello stood out, but Shaffy brings a different energy compared to her usual regal and classy roles.

The film excels not only in visual aesthetics but also in its sound design, showcasing Odunlade Adekola’s keen understanding of the impactful role sound plays in epic storytelling. Additionally, the noteworthy dialogues skillfully immerse viewers in a rich cultural experience, enhancing the overall cinematic journey.