Orisa, a Yoruba epic film in Nigerian cinema, has made waves since its release, impressing both the industry and audiences with its captivating storyline, exceptional cinematography, and outstanding performances. The movie broke the local box office records after hitting ₦100 million in gross profit only a week of its release as of August 17, 2023.
The film’s distinctive narrative follows Orisa, a powerful warrior forming an alliance with a group of skilled warriors to engage in nefarious activities that draw the attention of the city’s king and other criminal gangs. The filmmakers’ focus on developing a compelling plotline that interweaves politics, power play, and interpersonal conflict is commendable.
The casting in Orisa is exceptional including Odunlade Adekola, Femi Adebayo, Shaffy Bello, Jide Kosoko, Muyiwa Ademola and brings the characters to life in unique ways. The seasoned actor Adekola’s performance as the mad king Adefolarin is genuinely impressive, and his skills add credibility to the film’s portrayal of power and politics.
Likewise, Femi Adebayo’s portrayal of the villain, Komokomo, incites fear in viewers, making him a formidable villain. Shaffy Bello’s masterful performance as a grieving wife underscores the emotional depth of the characters and the film’s overall theme. The characters and their interactions are relatable, which makes the audience empathize with their situations.
The film’s dialogue is a strong suit, demonstrating the screenwriters’ expertise in crafting witty and engaging exchanges. The film’s depiction of proverbs and Yoruba language does not detract from its entertainment value or understanding. The delivery of the dialogues is underscored by the actors’ exceptional performances, which ensures the audience can connect with the characters on an emotional level.
Although the movie’s success does not come without shortcomings. The editing occasionally leaves much to be desired, especially in terms of the use of computer graphics. Additionally, some scenes feel unnecessarily prolonged as a result of the film’s drawn-out plot. The storyline’s pace is inconsistent, with some parts of the film moving too fast, while others drag on too long. The introduction of some unexplained characters creates confusion for the audience, leading them to feel disconnected from the narrative.
The motives behind some of the characters are left unsatisfactorily explained. For example, Komokomo’s motivation for his actions lacks a sufficient backstory, and the audience is left questioning the rationale behind his ambition for the throne. On the other hand, the witches’ thirst for revenge is understandable, and their background is sufficiently developed, making their vengeful motives relatable to the audience.
Despite its shortcomings in editing and plot, its successes should inspire more films that capture the essence of African culture and its reliance on proverbs and idioms. The cinematography and direction offer a picturesque view of the Yoruba culture and traditions, making it a must-watch film for all.
