Yinka Olatunbosun
A nation’s democratic dream crumbled when the June 12, 1993 elections—hailed as Nigeria’s freest and fairest—were stalled and ultimately annulled by the military. That historic fracture, long etched in the country’s consciousness, finds fresh emotional depth in My Father’s Shadow, the debut feature from Akinola-Davies Jnr., written by Wale Davies.
Released in Nigeria on 19 September 2025 by FilmOne Distribution, My Father’s Shadow has already made history as the first Nigerian film to be selected for the Cannes Film Festival’s Official Selection (Un Certain Regard), where it received the coveted Caméra d’Or Special Mention for Best Debut Feature. Expectations at home, understandably, were sky-high—and the film largely delivers.
Akinola-Davies Jnr. approaches history not through grand statements but through intimate detail. His storytelling adheres to the golden rule of cinema—show, don’t tell—crafting a visually arresting portrait of Lagos in the 1990s. Through the eyes of an estranged father and his two young sons, the audience journeys from the rural outskirts to the city’s chaotic heart, reliving the uncertainties that followed the election annulment. The sparse dialogue and measured silences give the film a meditative texture, drawing viewers into a world where absence speaks louder than words.
While the political backdrop is unmistakable, My Father’s Shadow is less a polemic than a human study—of love, loss, and the fragile notion of nationhood. Beneath its quiet surfaces lie questions about identity, poverty, and the urge to escape. Its political charge is all the more potent for being understated, revealed through the friction between a father’s ideals and the hard truths of his world.
In the lead role, Nigerian-British actor Ṣọpẹ́ Dìrísù delivers a measured, quietly powerful performance as Folarin. He is ably supported by first-time child actors Chibuike Marvellous Egbo and Godwin Egbo, discovered through a Lagos street casting campaign—both bringing an unvarnished authenticity to their roles.
Shot entirely in Nigeria, the film is rich in visual texture. Akinola-Davies Jnr. turns the city into both character and commentary: leaking roofs, choking traffic, and the fractured beauty of Lagos’s skyline become metaphors for a nation’s decay and resilience. The two boys, drifting through overheard conversations about fuel scarcity, elections, and the Bonny Camp Massacre, serve as quiet witnesses to a country coming undone.
Blending realism and dreamlike reverie, the film situates Folarin as both man and myth. Archival footage of M.K.O. Abiola and stylised recreations of military broadcasts merge seamlessly, creating an atmosphere that is at once nostalgic and haunting—a cinematic séance with Nigeria’s past.
At the Lagos premiere—supported by The Glenlivet Single Malt Whisky and Guinness Foreign Extra Stout—Akinola-Davies Jnr. reflected on his creative vision: “I hope audiences will connect with the same things I love in the film – the family, politics, spirituality, and psychology. Navigating all these layers within a mid-nineties Nigerian setting is what makes this story unique. We wanted to make something accessible, where people see reflections of themselves and experiences they recognise.”
More than a debut, My Father’s Shadow is a cultural statement—a reclamation of memory and a reckoning with the ghosts of a nation.
Kene Okwuosa, Group CEO of Filmhouse Group, captured this sentiment aptly: “My Father’s Shadow has received remarkable recognition on the international stage, and we believe it’s important for audiences in Nigeria, Ghana, and Liberia to share in this landmark achievement. Our decision to distribute it across these territories reflects our commitment to showcasing African stories at the highest level, both globally and regionally.”
Subtle, ambitious, and deeply humane, My Father’s Shadow doesn’t just revisit history—it reimagines how Nigeria remembers
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