Mutale Kampuni goes on a journey in her review of Element Pictures' My Father’s Shadow.
A depiction of one fateful day in the lives of two young brothers, Akin and Remi (Chibuike Marvellous Egbo and Chibuike Marvellous Ebgo), the semi-autobiographical drama charts the boys’ experience bonding with their father Folarin, also known as Fola (Ṣọpẹ́ Dìrísù).
Fola returns unexpectedly into their lives from one of his frequent ‘work-related’ absences, a parent they hardly know. Their mother has always insisted that Fola was busy working out of his love for them. This is a redeeming factor for Fola, and is compared to the love of God, who is unseen but whose love is nevertheless undoubted.
While their mother is away, Fola decides to take the boys along on a trip to Lagos, where he plans to collect his unpaid wages. The boys are mesmerised by his strong, commanding presence, and do not question his instructions, obediently responding ‘Yes daddy’ or ‘No daddy’ to their enigmatic father.
The story is told through the untinted lenses of a child’s view, reminiscing on this personally significant moment, which offers much more than the single day in June 1993 it is based in. In this era, Nigeria was on the cusp of democratically electing a new president, the first after a decade of enforced military rule. The political climate casts long shadows on the landscape, with checkpoints mounted by menacing soldiers, radio bulletins and commentary on the ground. Folarin is determined to collect his wages in anticipation of impending disorder and upheaval to ensue in the aftermath of the election.
There is no shortage of thrills on this impromptu adventure, as the boys take rides on the danfo (buses), okada (motorcycle taxi) and hitch a ride on a truck. These boys take everything in their stride, quietly observing Fola as he meets and greets men who call him ‘kapo’, meaning ‘boss’. He strikes up conversations in English, Yoruba and Pidgin, even compelling the boys to show respect to an ‘uncle’ they have never met before. He appears somewhat unwell, tense, and experiences unusual and recurrent nosebleeds as the day goes on.
The highlights of the film are many, including the visit to the fairground and the beach, where Fola speaks of the importance of providing for his family. When passing the National Theatre building, Akin and Remi learn how their mother loved the theatre in her younger days. The hustle and bustle of the vast city, markets, street noise, traffic and other sights and sounds are intricately woven into the chaos of the journey. Unspoken words and long silences do not create any gaps, but rather convey the depth of communication, as in the 1967 song by The Tremeloes, ‘Silence Is Golden... but my eyes still see’. There are glimpses of another side to Folarin’s life, as well as an implied infidelity, a suspicion borne out by a waitress’s over-familiarity. This does not go unnoticed by the ever-vigilant Remi, who later confronts Fola about how he treats their mother: ‘You always make her sad, you always leave her’.
With Element Pictures co-producing, My Father’s Shadow is director Akinola Davis Jr’s debut feature-length film. Originally written as a screenplay with his older brother, Wale, it took many years in the making from initial conception. Davis conveys not only familial emotions, but also the mood of a bygone era. Blurry archival footage, electricity outages and dramatic radio bulletins provide a factual depiction of the time, as do background images, street signage and modes of dress.
As is often the case in African filmmaking, surrealism and religion come through in subtle ways. Fola recalls an encounter with a stranger who told him his brother’s spirit was sad because he was forgotten, and so he named his son Remi after his brother. People dressed in white pray on the beach, whilst others are occupied by the carcass of a dead whale. The interconnectedness of life exists on many parallels, sometimes metaphorical, other times nuanced, but real enough to its devotees.
The ending of the story offers no satisfactory conclusion. There is no hopeful surmise of closure. Many questions remain with no answers. There may be limitations, too, to how much a young mind could hold for long periods of time, combined with the trauma it is subjected to. An edifying aspect is that the Davis brothers have fulfilled the long-held desire to keep alive the memory of their father. Fola imparted to his sons the advice he was given on the absolute necessity of remembering departed loved ones. In sharing this deeply personal, profound and intimate family portrait, they are honouring him, ensuring he is not forgotten. His two sons tell it as it is, warts and all, as per English parlance. Fola is not presented as a hero, neither is blame laid at his feet for being less than was expected of him.
My Father’s Shadow is released in cinemas from Friday 6th February 2026.
