Critiquing Behind the Scenes, directed by Fúnkẹ́ Akíndélé and Túndé Ọláoyè (Mr. Distinct), carries a profound responsibility. This film serves as a mirror of social realism, refracting the raw lived experiences of familial bonds, friendships, and betrayals in contemporary Yorùbá and Nigerian society.
Through its kaleidoscopic portrayal of relational dynamics, it probes the limits of selflessness, the sting of manipulation, and the redemptive potential of tragedy, urging viewers to confront their own sacrifices.
At its heart, the film dissects sibling economic inequality, and the perils of unbridled philanthropy. The protagonist’s arc exemplifies how unchecked kindness invites exploitation, echoing the African proverb that those who demand know no limits; thus, the giver must set boundaries. A pivotal question then becomes pertinent: How does one give all without forsaking oneself?
The tension that manifests in the “miscreant ọmọ onílẹ̀s” saga where the Yorùbá notion of wèrè la fi ń wo wèrè (madness is matched with madness) offers a visceral response, though the film wisely illustrates its double-edged consequences; actions ripple with unintended implications, sometimes with some ọ̀ta’fà sókè yí odó borí ‘fifth columnists’ in the wings.
Tragedy catalyses unexpected filial care, blurring lines between genuine concern, contrived obligation of the ‘ajẹni fẹ́ òòyì si’, and crass opportunism. Post-demise, the hasty displacement of the departed’s portrait, and pawning of belongings underscore Ilé ayé! Ẹni tó kú ni tiẹ̀ gbé: the dead are swiftly forgotten). The African indigenous philosophy resonates vividly here: Ká d’ijú ká ṣe bí ẹni kú, ká w’ẹni tí yóò ṣe ilédè lẹ́hìn ẹni; ká bùrìn bùrìn ká f’ẹsẹ̀ kọ, ká w’ẹni tí yóò ṣe’ni pẹ̀lẹ́ (Pretend to be dead, and observe who protects your legacy; walk and trip, see who will show you empathy).
These layers provoke introspection on legacy, loyalty, and self-prioritisation, reinforced by the emotive agony of motherhood, speaking to the Yorùbá philosophy of ‘Ojú mẹ́wàá ò lè jọ ojú ẹni’ (representative commitment is incomparable to personal commitments). A brand mantra from my early 2000s work aptly personalise this in, “If I don’t take care of them, who will?”.
The film’s plot excels in subverting expectations, leaving early judgements foolish as revelations unfold through unexpected acts. Tóbi Bakre delivers a top-notch performance as the prodigal figure whose arc affirms, Ọmọ burúkú náà l’ọ́jọ́ tiẹ̀ lọ́tọ̀ (Even the wayward child has their day). His transformation from anti-hero to redeemer adds emotional heft, mirroring biblical prodigals while grounding it in Yorùbá resilience and ethos of Ọmọlúwàbí.
Adérónkẹ́ (Scarlet Gomez) gives great punch to her role as she weaves in and out of her variegated emotions. She deftly immersed the audience into her pains and triumphs as she navigates the plots and her demanding characterisation at every point.
Ibrahim Chatta’s Afeez embodies irrepressible Yorùbáness, portraying a half-educated driver whose occasional slips into perfect English add intriguing depth to his characterisation; this subtle linguistic slip rewards attentive viewers, hinting at hidden layers beneath his rough exterior. As that almost indiscernible slip may pass general scrutiny, a linguist may grudgingly let it off.
Uzor Arukwe’s Victor, Adérónkẹ́’s steadfast bestie, and his fiancée provide a counterpoint of loyal friendship amid chaos; their subplot highlights rare constancy, offering a beacon of unmanipulated support.
Equally compelling are Adébọ̀wálé Adédayọ̀’s Johnson and Destiny Etiko’s Oluchi, whose loyalty as domestic staff transcends duty, earning Adérónkẹ́’s trust and elevation to family status; they anchor the narrative’s theme of redemptive bonds beyond blood or class.
Behind the Scenes is a rollercoaster of cinematic emotion, peeling onion layers rather than a ‘feel-good’ cabbage ball unravelling. Few cinema-goers would emerge dry-eyed; the plot lingers, prompting reflection on personal sacrifices, family, friends, and legacy. I would cry and thought that was it, until another scenario takes me back to the onion-kitchen.
Yet, this intensity occasionally risks emotional overload: pacing in revelatory scenes could tighten to sustain suspense without overwhelming pathos. Still, the film avoids despair, delivering resolutions that affirm hope and self-love, ensuring repeat viewings. For that, it deserves strong commendation for delivery on a balanced emotional journey between the film and the audience.
But be warned; if you watch Behind the Scenes countless times, nígbà igba, keep your handkerchiefs close by.
Technically, the production shines. Location and set design authentically capture everyday Nigerian grit, while special effects feel believable and immersive. As for costumes, the movie clearly play up to characterisation, particularly with Alero (Ìyábọ̀ Òjó) in the opening scene of the movie, and the party she hosted.
Music scores, melodic and lyrically resonant, perfectly balance the visuals, enhancing pace and grip. Credit goes to the lights crew, gaffer, boom operator, colourists, and post-production team, culminating in the directors’ visionary synergy.
Let me say in wrapping it, that Behind the Scenes transcends entertainment, functioning as cultural critique and philosophical treatise.
For viewers, it models boundary-setting in relationships, self-prioritisation amid sacrifice, and discerning true loyalty from opportunism; these lessons equip everyday audiences to navigate familial and social entanglements with Yorùbá wisdom.
Practitioners in film and cultural production would find a blueprint in its subversive plotting, authentic technical execution, and emotional layering, demonstrating how social realism can grip without despair.
Scholars and strategists like me, meanwhile, see Yorùbá philosophy’s timeless relevance to modern dilemmas, affirming Akíndélé’s mastery.
– Kenny Adénúgbà is a cultural strategist, author , scholar, and indigenous knowledge consultant.
