Film Mischief: Wrong Way is a Ghanaian parable about guilt, consequence, and the cruel nature of fate.
The film opens with a phone conversation between Manan, a young man, and his mother. The mother’s voice is not heard, but it is evident from Manan’s tone and facial expression that he cares for her deeply. He ends the call saying he has to get back to work. Unbeknownst to the poor woman, her son is not gainfully employed at any establishment. Instead, he is part of a robbery gang— the same gang that will ambush her vehicle shortly and bring about her death.
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Manan’s friends, Fiifi and Ben, tease him because they think he is speaking with a lover. Their banter contrasts sharply with the tragedy about to befall him. The scene that follows is set on a bus, where a preacher addresses his fellow passengers about the evils of the world today and encourages young people to focus on doing good instead. He is still talking when the trio, now wearing masks, block the bus’s path and rob everyone in broad daylight.
The thesis of Wrong Way can be summed up in this popular saying: “Be careful throwing stones in the marketplace, because they might hit your loved ones.” I like to think there’s a variation of this idea across different cultures because people, for a long time, have learned to recognise the cruel, mischievous hand of fate.
One passenger screams at the robbers, “Would you do this to your own mother?” but this falls on deaf ears. At this point, the gun Manan is holding accidentally goes off, and the woman in front of him is shot dead. The robbers leave in a hurry, while Manan is crushed by the guilt that he has taken a life. The film ends with him calling his mother’s number, not realising he will never speak to her again.
The story hinges on this tragic irony. Manan’s desperate attempt to support his mother financially ultimately leads to her death. Director Nana Kofi Asihene chooses to keep Manan’s mother’s identity obscure — her face and voice are neither shown nor heard. But by the end, as Manan is wracked with guilt, still unaware of the extent of the grief he has brought upon himself, the message of the parable is clear as day.
The most striking aspect of Wrong Way is its concise runtime. For such a heavy theme, it manages to wrap up in seven minutes. And yet, this matter-of-fact expression might undercut any lasting emotional resonance with the audience. The film strives to be moving, but it never quite makes its case. Even at its climax, there’s no real tension. The gun simply goes off, with little buildup or escalation. The story is compelling mainly because it dramatises an age-old parable, rather than bringing anything particularly new to the table. Still, as short cautionary tales go, it does its job well enough.
Wrong Way screened at The Annual Film Mischief 2025.
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