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★ 7 / 10
“Everything is sacrifice. You just have to pray
CinemaSerf
“Everything is sacrifice. You just have to pray you don’t sacrifice the wrong thing” That's a mantra that most parents probably consider as they try to do…
“Everything is sacrifice. You just have to pray you don’t sacrifice the wrong thing” That's a mantra that most parents probably consider as they try to do their best for their family, and it's certainly that which drives "Fola" (Sope Dirisu). He and his wife have two young sons, but life for them is hard. He has missed much of their upbringing as he had to leave school early and is so working, unskilled, in Lagos whilst their mother has something slightly more convenient nearer their home. The effects of this are proving quite profound on the boys, but on a spontaneous trip with their dad to the city we discover that he, too, is acutely aware of the impact on the choices - if choices they actually are - that he is having to make to keep his family safe and provided for. It's election time in Nigeria, and as the boys tour the city they encounter some of the optimism and the toxicity that engenders as the announcement of the result draws nearer. What really works here is the simplicity of the whole thing. The two lads - "Remi" (Chibuike Marvellous Egbo) and "Akin" (Godwin Egbo) are young enough to be engaged by the city and it's fun fair, but also old enough to grasp some of the sacrifices being made by their parents and of the seriousness of a political situation that looks like it will prove more perilous for their journey home than it was coming in. Like the eager anticipation of a football match, they await - but just how will the losing team react? Will there even be a result at all? Both of these young actors present with an engaging confidence throughout, and they work well with the considered effort from a Dirisu who conveys his paternal aspirations for his kids and himself whilst emphasising his deep affection for their mother in a really quite touchingly poignant fashion. Their trip also highlights the iniquities of Nigerian society in this vast conurbation, with a machete wielding mob not at all interested in the people on the beach, but more in a whale that can provide meat for many for days. As their day unfolds, both the children and their father learn more of the fragility of their society and Akinola Davies delivers those conflicting messages to us in a subtle yet forceful manner, without recourse to excessive violence - but more by using these characters to expose the cracks and the glues in their nation. Along the way, there is still time for some fun and just a few scenes that have you on the edge of your seat - for various reasons - and as an observation of a man determined to ensure that just as with him and his own father, the lot of his own family must be an improvement on his own childhood.
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★ 9 / 10
Fathers and sons often have complicated relationships. In
Brent Marchant
Fathers and sons often have complicated relationships. In many instances, boys often don’t know their dads as well as they would like (or at all), leaving them…
Fathers and sons often have complicated relationships. In many instances, boys often don’t know their dads as well as they would like (or at all), leaving them with many unanswered questions about these individuals whom they dutifully but frequently inexplicably call “parent.” So it’s entirely understandable how the curious would jump at the chance to get to know their fathers better when such opportunities present themselves. So it is for two young boys, Aki (Godwin Egbo) and Remi (Chibuike Marvellous Egbo), who are invited to join their father, Folarin (aka Kapo) (Sope Dirisu), on a day trip from their remote village to Lagos, Nigeria’s largest city, where their dad works. As a diligent head of the household, he often spends months at a time in Lagos without seeing his sons or their mother, Bola (Efon Wini), a noble but significant practice that leaves a sizable gap in the character of the family’s home life. Because of Folarin’s many extended absences, his sons know little about him other than his apparently profound love for them and his unwavering commitment to supporting them and his wife. But there’s more to this lack of awareness than just his physical absence; Folarin is, by his nature, a man of mystery in many ways, and Aki and Remi know virtually nothing about this aspect of their father’s life. This includes his past in Lagos, his courtship and relationship with Bola, and, perhaps most notably, his somewhat outspoken political outlook, a critical element of his background in light of the story’s backdrop, the highly controversial 1993 national election and its troubling aftermath. Over the course of their journey, Folarin gradually reveals himself to his sons, telling them stories about, and showing them the haunts of, his past, gestures that provide him with windows into his character. They also provide opportunities for imparting insightful life lessons, many of which offer a profound look into Folarin’s previously undisclosed self, the kinds of moments that usually leave lasting and meaningful impressions. Anyone who has ever had a relationship with his father akin to the one portrayed here will undoubtedly find this a touching and comforting story, one sure to tug at the heartstrings and possibly bring a tear or two to one’s eye (so keep the hankies handy). The film also provides an enlightening, eye-opening lesson into a key event in the history of Nigeria’s post-colonial era, one that’s relayed clearly and pointedly but without becoming unduly belabored, depicting a time in the country’s past that many Westerners likely know little about. But, perhaps most importantly, this is a moving tale (said to be semi-autobiographical of writer-director Akinola Davies Jr. in his feature film debut) that’s certainly affecting on multiple levels, thanks in large part to the picture’s fine script and excellent performances of its three principals, including the two young newcomers. “My Father’s Shadow” is clearly one of the most pleasant surprises to emerge out of this year’s festival, one well worth the time to watch, savor and enjoy.
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★ 9 / 10
A love letter to an absent father
Set in 1993 in the city of Lagos, Nigeria, during a national election that would've signified a shift from military rule to democracy. Two young brothers, Remi…
Set in 1993 in the city of Lagos, Nigeria, during a national election that would've signified a shift from military rule to democracy. Two young brothers, Remi and Akin, accompany their father to the city in order to collect his delayed salary. The whole film takes place during one day, in which we get a few glimpses of their lives with short but impactful dialogues between father and sons.The tone is masterfully crafted but never forced. Director Akinola Davies Jr. Is gentle in his style, inviting us into the emotional side of his world through beautiful use of close shots - the camera often lingers on dad's eyes, his pronounced frown and subtle expressions suggesting pain and longing. Other times, the camera waywardly dances around, accompanied by droning and intermittent piano notes with playful reverberations that, in my mind, signifies a slow reconstruction of a memory. It often pans to the contrasting color and decay in the streets, then to the sky, where a group of circling birds would follow the father and his sons throughout the film, never quite leaving us at ease.The subtlety of the cinematography somewhat clashes with its predictible tragedy at the end, yet the tone of the film is simply hypnotizing, and the chemistry between father and sons keep us invested all the way to the end. The oncoming death is strongly hinted, quite literally through multiple shots of lingering birds in the sky that never fail to draw Remi's and Akin's attention. As the film is drawn loosely from director's own experiences, I couldn't help but think that this was a love letter to his own father.In this sense, the film acts as a "slow recognition" - as Jason Ryle mentions in the official TIFF synopsis - of the often absent father through the eyes of his sons. "The difficult work of seeing someone clearly, perhaps for the first time, and finding something in them more profound than expected".The father's impenetrable appearance is gradually pierced and he opens up as the day goes on, for what seems like the first time in his life, to his own sons.One particular scene comes to mind, when they reach the beach and Folarin (the father) tells his eldest son the story of his own childhood, when his older brother drowned and how years later he had dreamt him in his sleep, always waking up at the moment that his dead brother was trying to tell him something. Folarin was then saddened by how no one talked about his older brother after he died, how "he was forgotten, as if he never existed".That something that could never be told in his sleep may symbolize Folarin's own distance from his sons, it was - as he saw it - the necessary outter layer of hardened masculinity required in the politically unstable Nigeria of the 90's. Yet in the same scene Folarin tells his son that his own father was wrong in thinking that the only thing he could be is a provider.As the waves are slowly rolling onto the shore, the eldest son asks his often absent father, "Daddy, if you say that you love us and God loves us, then does that mean that people who love us are always far away?"The father fell silent. He did not know what to reply.
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