Directors: Kunle Afolayan
Writer: Tunde Babalola
Cast: Fawas Aina, Ebiesuwa Oluwaseyi, Ruby Akubueze, Yemi Solade, Bimbo Manuel, Sam Dede, Femi Branch, Femi Adebayo, Gabriel Afolayan, Funky Mallam, Tana Adelana, Adunni Ade
Year: 2023
Streaming on: Netflix
Ijogbon, is the latest cinematic offering from the stables of KAP and I believe a part of his agreement with Netflix. It is a portrayal of the human spirit’s resilience in the face of adversity and hardship. The film explores the complexities of life in a way that is both heart-wrenching and inspiring.
However as against writing a full epistle of the movie Ijogbon, I am presenting you the 5 aspects I liked and didn’t like about the movie.
Collaborations:
What is a good production without having the best in the best in the best to collaborate with. To write this project, Kunle had Tunde Babalola. Babalola and Afolayan have collaborated on other projects including October 1, Citation and Mokalik. As Cinematographer, the director went with Adekunle ‘Nodash’ Adejuyigbe, another collaborator he has worked with on 2 other projects as well. So, KAP had the best in the business on this project as it relates to the Cinematography, Nodash is the man sha! The film’s visual aesthetics were captivating, capturing the vibrancy of the town of Ibadan while also highlighting the harsh contrasts of village life. He also skilfully captures the essence of the characters’ emotions, enriching the viewing experience. The writing that cumulated to the story though! Not the same feeling. It was a good story but felt very open ended and I am one for not always closing the loop. So, it was a folktale or started as a folktale, but was it what happened to the kids that was the tale, the first thief that made off with the diamonds or the diamonds open ended! Once or twice in the movie there was the scene with child miners, now my thoughts were that with the killing of the thieves that would mean the end of mine but as they didn’t tie that to if the mine was owned by the thieves or not, that left one, open ended!
Location:
I think Kunle and Editi must have hit gold with out-of-town locations. KAP made use of Oyo state it was quite clear, my thoughts were it would definitely be much cheaper, no tout wahala (I hope) and then loads of space to play with in terms of set design and the likes. Now if the Government of that state is wise, they can just build a Film village or huge set that can be used by other filmmakers for a fee or tax and then the people of the state can be hired by the filmmakers. So yes, I saw potential in that location (LOL). Money making potential.
Acting:
In KAP usual fashion, he uses relatively unknowns in his productions. Giving fresh faces is always a welcome idea and with this production, the kids – Fawas Aina, Ebiesuwa Oluwaseyi, Ruby Akubueze did there best in their roles. The film benefits immensely from the exceptional performances of its cast. Loads of props to Tana Adelana. In fact, I didn’t know she spoke Igbo but shifting from igbo and then delivering yoruba in the same vain, she deserves her flowers. Other casts members, too, shine brightly, bringing authenticity to their roles. The chemistry between the actors adds layers of realism to the narrative, making the story no matter how open ended come alive.
Themes and Social Commentary:
Ijogbon delves into several pertinent themes, including poverty, resilience, bonds, and societal expectations. It offers a commentary/narrative which seems like a thing for Yoruba movies that ultimately stops not signifying the end though, just stopping. However, looking at the different lives of each child and the japa syndrome, the film sheds a light on the different levels people will go through to get rich or leave their lives behind.
Music and Soundtrack:
Another aspect of KAP I enjoy. Once I finished watching ‘Anikulapo’, I loved the sombre music and the seamlessly blending of traditional Nigerian music with contemporary sounds and that led me to downloading it on Apple play. Unfortunately, that wasn’t the case for Ijogbon. We know music enhances the emotional impact of the scenes, creating a visceral connection with the audience, this did not come through in this production.
Generally, Ijogbon is a testament to the fact that KAP has become slightly comfortable with his style and delivery of his productions. The production value and cinematography cannot be denied, however, the delivery of the story/plot and its ability to provoke thought and evoke empathy was lacklustre and bland.
Ijogbon is a must-watch for cinephiles like me, looking to write a review just as I did 😊!
It earns a 5/10 from XploreNollywood.
Have you seen Ijogbon? Tell us what you think in the comments or better drop it here
