Tòkunbò

This Nigerian film is a chase in which a poor man, Sunday Aaron, who is exploited by everyone, struggles to find money to treat his dying baby. He's being chased because he's kidnapped an important woman's little daughter in his car (he's been asked to make the transport without knowing it's a kidnapped little girl). After a long exposition, the film begins. The film is set in Lagos, and the city and its surroundings set the tone for the film. All the characters around Sunday Aaron take advantage of him, except in the end for the little girl he has to transport by force.

The many twists and turns, even if predictable, are well laid out, and the two screenwriters make the most of the various characters to keep the drama going (the film lasts almost two hours): his wife, his friend, the little girl, the girl's mother, the kidnapper, the police. Dramaturgy and acting are tightly scripted, but the film works over time, thanks to its social and societal backdrop, and to sets and locations we don't often see in film.

Tokunbo about a man trapped between a rock and a hard place.

It makes you wonder: in the face of a desperate situation, will morality hold its ground, or does saving the ones you love take precedence?

We had a great time watching this film with friends. It's packed with gags and funny moments, and it's the first combative action Nollywood film we've genuinely enjoyed. Ramsey Nouah's direction was solid, and the cinematography was beautiful.

The film moves very quickly, so you can almost forgive the dull moments and Funlola Aofiyebi-Raimi's overbearing and often unnerving character.

The cast was refreshing. Gideon delivered with heart and soul, Adunni was a delight, and Darasimi was a heartthrob. Even Chidi Mokeme's natural grungy vibe suited his character, Gaza, perfectly.

Overall, it's a film you watch when you're in the mood for something wholesome.

I have been watching Nollywood films and this ranks as my best so far. I have no doubt about the amount and quality of work that went into this production. The film look really got me. The lead character was truly committed to his role, and sold it.

With regards to the plot, I am glad to see character travel through the journey of multi-dimensional relationship with is customers, colleagues, boss, friends, and family. The barrier to his success that he overcame is recognizing his humanity.

The captive girl, being an overly confident girl, quickly transitioned to Stockholm Syndrome. This played out in his favour and gave him the breather to escape the long arm of the law.

I never thought a Nigerian movie could be this good-and I really mean it! As a filmmaker, I usually watch a lot of international films, and I've seen some great Nigerian movies as well, but this one truly stood out. The lighting, plot, editing-everything was fantastic. It was an incredible movie.

I truly admire the editing in this film, which plays a crucial role in enhancing the pacing and emotional intensity of the story. The character portraits are deeply engaging, allowing the audience to connect with their struggles and aspirations on a personal level. Each performance is nuanced, and the direction highlights the complexities of the characters in a way that feels both authentic and compelling.

The plot is well-structured, with strong narrative arcs that keep the viewer invested from start to finish. It's clear that a great deal of thought went into the script, which balances moments of tension with subtle emotional undertones. The way the story unfolds, revealing layers of meaning and conflict, is a testament to the skill of the filmmakers.

In addition, Nigeria has truly raised the bar with this production, showcasing its growing influence in global cinema. The cultural depth and authenticity add a unique flavor, proving that the Nigerian film industry is capable of creating impactful and thought-provoking stories that resonate beyond borders.

Hugs from Spain.

Tino Trivino.