Vanity

Vanity depicts the journey of a newly married couple, Kobi (portrayed by Uzor Arukwe) and Ify (portrayed by Jemima Osunde). Kobi, having spent all his savings on their wedding and meeting the demands of Ify’s family, expects Ify, who resigned from her well-paying job in a Port-Harcourt based oil company, to find employment in Lagos to alleviate their financial strain.

However, Ify’s immediate pregnancy after their wedding shatters Kobi’s hopes, leading to turmoil in their household. Ify, pressured by Kobi to contribute financially, struggles to adapt to her new environment, battles prenatal depression, and contends with her husband’s domineering nature, ultimately making a decision that profoundly impacts their relationship.

As the plot unfolds, Kobi’s motive for marrying Ify becomes evident, with one of the primary reasons being her potential financial contribution as a petro-chemical engineer. The initial sequences of the movie struggle to establish whether its main focus is on perinatal depression and the supportive role of men or on the challenges faced by women balancing motherhood and careers. Although the central message eventually becomes clear by the resolution, the execution of the plot is lacking.

Vanity initially fails to fully engage the audience due to the lack of compelling reasons to support the couple. There is a noticeable absence of emotional connection until the midpoint, where slight empathy is evoked for Ify due to Kobi’s psychological abuse, though even this falls short. The filmmakers opt for a straightforward approach, avoiding excessive ambition in production and keeping the narrative simple. This decision allows the core message to resonate effectively by the resolution, bolstered by the authentic performances of the lead actors, which renders the story somewhat genuine and, importantly, relatable.

Opting for a minimalist approach, the filmmakers aim for poignancy, which they do achieve. However, this decision prevents the story from reaching its full potential. A major critique of Vanity is its lack of deeper exploration into postpartum depression. While it touches on various aspects of the condition, the scenes lack substantial momentum, resulting in the movie feeling somewhat underwhelming towards the end.

The plot begins with a hint of sympathy but loses momentum early on. Vanity offers nothing but typical Nollywood clichés, depicting the familiar scenario of a husband mistreating his wife, then remorsefully begging for her forgiveness. The resolution feels abrupt, leaving the audience disconnected, as it’s unrealistic to believe the wife would easily return to a man who treated her poorly. The film prioritizes being informative over creating an immersive experience, resulting in a somewhat underwhelming overall impression.

The film’s straightforward approach and lack of diverse viewpoints make it more of a chore to watch. Like many Nollywood movies, Vanity loses its appeal early on, though passed across it core message at the end. The movie also relies heavily on biblical references to resolve conflicts. Apparently, the filmmakers chose to take the easy way out when things get tough in the narrative, because the plot is poorly executed and forgettable, with a very disappointing and unnecessary climax. Vanity might pass as a casual watch for those killing time, but if you want an engaging family drama with exciting twists, it falls short.

Similar to “For Maria Ebun Pataki” directed by Damilola Orimogunje, Vanity delves into the topic of postpartum depression, addressing themes of prenatal/postpartum depression, as well as spousal abuse and neglect. These are issues that receive inadequate attention in cinema, both domestically and internationally. Through the character portrayed by Uzor Arukwe, the film highlights the widespread lack of awareness and understanding surrounding postpartum depression. Many individuals are unaware of its existence or are unwilling to acknowledge it, often leaving spouses without the support they need to heal.

Vanity will definitely elicits mixed reactions from viewers; some may appreciate its informative approach, shedding light on a sensitive topic. However, despite the lack of solid entertainment value, storytelling wise, some audience might find solace in their admiration for Ify’s mother-in-law, Matty (played by Chineyere Wilfred), whose solid and immersive performance stands out. It’s a refreshing change in Nollywood to witness a caring mother-in-law who supports her son’s wife as a daughter. Despite Chinyere Wilfred’s standout portrayal, the film’s flaws still prevent it from delivering an immersive narrative.

In terms of performances, Jemima Osunde’s portrayal of her character gradually captivates the audience. Her non-verbal communication and physical demeanor effectively convey the unexpected struggles faced by a young bride who sacrificed a lucrative career for marriage. She seamlessly embodies the role with authenticity, striking a perfect balance without overdoing it. On the other hand, Uzor Arukwe initially portrays his character flawlessly, transitioning from jovial to a frustrated husband with ease. However, during critical moments concerning his child’s health, he struggles to connect emotionally, detracting from his performance. Nevertheless, he redeems himself by the resolution. Secondary characters like Patrick Diabuah, Kachi Nnochiri, and Belinda Yanga also delivers solid performances, contributing to the overall quality of the film. Chinyere Wilfred’s maternal wisdom stand out as stellar performances.

Despite its strengths, especially the actors’ performances, Vanity falters in its heavy dependence on religion to tackle the couple’s issues, overlooking the chance for deeper exploration. Furthermore, the sudden inclusion of black magic feels out of place and unnecessary. Nevertheless, despite the familiar storyline, the outstanding performances elevate the movie, making it a worthwhile (though average) viewing experience.