Growing up, some of the most popular films of Yoruba Nollywood were historical period films which included epics. Though mostly low budget and with questionable production quality, we enjoyed them for the action, the depiction of mythical heroes, and incantations delivered with impeccable cadence. In 2022, we witnessed a mainstream renaissance of such period films, with notable releases being King of Thieves, Anikulapo and Elesin Oba. The revival of the subgenre of traditional epics continues in 2023 with Odunlade Adekola-directed Orisa, to be closely followed by Femi Adebayo’s Jagun Jagun in August. This renaissance has birthed exciting projects that have thrilled viewers, and promises more mouthwatering titles in the future. 

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The plot of Orisa bears a striking resemblance to King of Thieves, so much that it wouldn’t be a surprise if the idea for the former was conceived on the set of the latter. This is not far-fetched as they are of the same sub-genre. Similar thematic and visual elements are used to tell the story but there are distinctions that set them apart. Although the characters are of the same mould and the plot progresses in the same manner, the characters have different motivations and intentions in navigating a conflict with different dynamics. It should also be noted that Orisa is a tragedy. 

Just like in King of Thieves, Odunlade Adekola and Femi Adebayo reprise similar roles, playing King of Ayedoja and bandit Komokomo respectively. The action begins ominously: Kabiyesi runs mad and runs out of the palace, causing pandemonium in the palace and confusion in the kingdom. Komokomo begins to terrorize the kingdom, taking the townspeople as slaves. He is so terrifying that mothers run and forget their babies. But their king is nowhere to save them, even the Balogun (Muyiwa Ademola) acts like these incidents are a spectacle to be laughed at. The chiefs and people of Ayedoja are at a loss for what to do. They can only wait and hope that their Oba regains his senses and delivers them from Komokomo. 

Despite being an interesting story, the plot of Orisa is as chaotic as the action. The fast-paced film progresses in a high frenzied manner, with too quickly-paced scenes. The action moves so fast, it feels like jumping from ride to ride in an amusement park without stopping to catch a breath. While it is thrilling to some extent, it soon becomes tiring as incident after incident happens without getting to the crux of the plot. When the film finally takes a pause to reveal the central conflict, although it manages to tie the previous actions together, one wonders why other elements of the story, like the witches which are used as a deus ex machina and Kabiyesi’s relationship with his mother (an influential member of the coven that shielded him from their wrath), were not better incorporated as an underlying subplot to frame the story. 

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Odunlade Adekola (Elesin Oba) takes on the roles of director and actor. For a moment, it seems like he’d be the one to tame his excesses but he soon reverts to his usual energetic and scalar delivery which can be easily ignored as his co-stars also put in high octane performances and redirect these excesses. Femi Adebayo (King of Thieves) takes on his second role as villain extraordinaire, bringing to the role almost the same vibrance and energy he applied to his role in King of Thieves. Muyiwa Ademola is not left behind; he matches his colleagues’ energy whilst embodying his character adequately. 

Good attention is paid to the aesthetics, failing only with the tribal marks that look like they were merely painted on the actors’ faces. The costume and set design fulfill both purposes of setting the period and being aesthetically pleasing. Furthermore, Nollywood’s advancement in the use of CGI is evident in the film’s visual effects except for a ridiculous effect used at the end. 

In Orisa, the vibrant depictions of elements of the Yoruba culture mixed with the thrilling action make it an exciting cultural display, but the overly vivacious way the plot is presented might wear out viewers’ attention and make them look forward to the resolution instead. 

Orisa premiered on July 21 in cinemas.

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Side Musings 

• It is kind of puzzling that the biggest grouse the coven has against the king is his refusal to honour the invitation to their festival despite his many atrocities committed against the women of Ayedoja. The conflict between them need not be so far-fetched. 
• Kings usually have a babaláwo or herbalist dedicated to the palace, why do we not see any of that? Where is the King’s healer? 
• As much as these period epics are interesting, it would be wise to explore more diverse stories, unless, the genre is rendered redundant with repetition of the same plot. 
• Let the viewers breath 
• One big failing of these films is how they under-represent events of the past, especially physical conflict. No general is going to war with 10 men, and it’s not just plausible a whole town is sacked with a similar number of assailants. It was forgivable in old low-budget versions, it should be better done now. 
• Again with the futile refutation of a slave trading past 
• Where is the Òrìṣà? 
• This is like when your friend copies your assignment and they paraphrase your answer. 
• Almost ruined the CGI display with the fireworks effect at the end. 
• Why is the palace open for every Dick and Harry to come and go as they please?