Lísàbí: The Uprising is an ambitious attempt to bring the story of Lísàbí Agbongbo Akala, the legendary Yoruba hero, to the screen. Loosely based on the actual historical event, the Netflix film showcases Lísàbí’s defiance against the oppressive rule of the Alaafin of Oyo and his despicable Ilari. While the film succeeds in some areas—mainly in its depiction of pre-colonial Yoruba life and its striking cinematography—it falters in crucial aspects of storytelling.

The story commences with King Olodan’s (Femi Adebayo) courageous resistance against the Alaafin of Oyo’s (Odunlade Adekola) draconian tribute demands, which results in his tragic execution. The Egba people are subsequently plagued by Sangodeyi (Ibrahim Chatta), the brutal leader of the Ilari (the Alaafin of Oyo tax collectors and spies). Sangodeyi and his boys perpetrate unchecked atrocities, fostering an environment of fear, despair, and impending uprising.

One of the standout features of Lísàbí: The Uprising is its cinematography (credit to Barnabas Emordi and Nora Awolowo), which balances the beauty of pre-colonial Yoruba life with the brutality of rebellion. Scenes such as the still battlefield after Osokenu’s demise, or the mystical exchanges between Lísàbí (Adedimeji Lateef) and Sangodeyi, are visually haunting. The careful choreography of the battle scenes—down to the quieter confrontations— strikes a fine line between cinematic stylization and grounded realism, capturing the harsh realities of war while remaining visually appealing. These moments intimate us on the human cost of war and upheaval, often compensating for the narrative shortcomings.

A significant weakness of Lísàbí: The Uprising, penned by Niyi Akinmolayan and Yinka Olaoye, lies in its uneven character development. Lísàbí’s abrupt transition from a humble farmer to a mystical warrior with spiritual powers is jarring, lacking the necessary buildup to make this transformation believable. Similarly, Osokenu’s implausible ability to slay ten Ilari soldiers, despite no prior combat training, undermines the plot’s credibility. These moments detract from the film’s emotional stakes, as the characters’ psychological journeys feel disjointed and rushed. Osokenu’s heroic arc while galvanizing the protagonist’s resolve, lowers the story into an action-packed thriller with a distorted character study for the titular hero.

Director Niyi Akinmolayan’s love for Tamil and Telugu historical fiction is evident in Lísàbí: The Uprising, with noticeable homages to films like Baahubali and Magadheera. While this cross-cultural influence brings a certain flair to the film, it also leads to tonal inconsistencies, particularly in the portrayal of Lísàbí’s showdown with Sangodeyi. The attempt to mirror Baahubali’s heroism against Sethupathi is brilliant but inauthentic to the world of Lisabi.

Despite its shortcomings, Lísàbí: The Uprising is visually impressive, and the film’s dedication to portraying Yoruba culture is commendable. However, its weak character arcs and rushed plot points ultimately prevent the film from realising its full potential. For a story rooted in historical significance, it deserved a more coherent and carefully constructed narrative.

Lisabi: The Uprising premiered on Netflix on September 27, 2024, streaming only in Africa.

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Side Musings

• Some of the supporting characters, like Orosola fall into archetypal roles that feel underdeveloped. This detracts from the emotional depth the film tries to achieve, leaving certain key relationships feeling superficial. In moments where the film demands a deeper emotional connection, the secondary characters seem more like plot devices rather than fully realised individuals.
• In limited scenes, Odunlade Adekola’s Alaafin delivers a surprisingly strong performance, showcasing depth and restraint. His subtle expressions and nuanced delivery stand out, elevating even minor moments. It’s a refreshing shift from his past work where he often overdramatizes his roles. His performance here proves he can excel when given the right material and with the right director. 
• Akinmolayan is a lover of Tamil and Telugu historical fiction movies. His directorial style emulates that of  Baahubali and Magadheera but his introduction of supernatural beings in the third act ruins the story. 
• Trivia: Sangodeyi’s horse, Arewa, died last month when delivering a baby.
• The second part, Lisabi: A Legend is Born, premieres in January 2025.