AV Club: Shanty Town is a picturesque crime thriller with glaring plot holes
Aesthetically well-executed with subpar writing that undercuts its potency
Three years ago, Netflix entered Nigerian film. The streaming giant’s reputation for glossy, big-budget movies was heralded as the next step for Nigeria’s promising filmmakers, even though opposition from the long-held cinema and piracy culture rose to contest its ambitions. In 2023, credible conversations still continue to follow the release of a new Netflix blockbuster, just as it’s been in the years since its entry.
Of their new movie ‘Shanty Town,’ there was relatively little buzz prior to its release late-last week. Underplaying the marketing’s intensity was a defining stroke towards the series’ reception. Whereas ‘Blood Sisters’ and ‘Far From Home’ had more of a big-budget roll-out, many people knew about ‘Shanty Town’ the day of its release. I didn’t go into the series with overblown expectations and that it proved to be an enjoyable, conversation-starting production was quite the satisfaction.
On the rudimentary scale, the six-part series follows the story of sex workers held in terror by the thug-slash-pimp Scar (who’s played by Chidi Mokeme). On the other hand however, the series attempts to connect the gritty realities of that underbelly to the high offices of state politics. These motivations are achieved to varying degrees, though sometimes there’s a fusion of interests which thicken the plot’s progression.
In recent years, we’ve seen New Nollywood grapple with themes of sexuality and consent. From ‘Citation’ to ‘Oloture’ and ‘Ijakumo,’ there’s been an unrelenting investigation into the currency of sex, especially its prospects existing within faux-conservative societies such as Nigeria. Usually from the perspective of women, these movies attempt to unfurl the realities of sex workers and the systems that uphold the mistreatment of women.
However, in new Netflix Naija crime thriller ‘Shanty Town,’ the series tries to present a moral evocation of society but its glaring plot holes diminish the viewer’s satisfaction. Scar’s emergence into the pimp leader role doesn’t possess enough depth to relay why people were so scared of him; however Mokeme brilliantly carried the role with muscular gravitas. While Enem’s arrival in Shanty Town, played by Ini Edo, set off a range of catastrophic events, her release from prison was offset by demanding the poetic “pack of cigarettes and a phone call”. It seemed to aloof and foreign to be the realities of a Nigerian prison, too cleanly written to be reality. Inem’s CIA-type infiltration into the fold of Shanty Town also doesn’t carry enough dramatic weight, while the touch of dark spirituality fails to affect the plot.
Some of the storytelling direction on ‘Shanty Town’ takes on the well-adopted lane of oppressor versus victim, and most times the individual parts don’t make for a well-designed whole. A better predecessor of such narrative is ‘On Black Sister’s Street,’ the 2007 novel from Nigerian novelist Chika Unigwe, which followed the lives of four African women trafficked to Belgium to become sex workers. Their lives intersect when a colleague dies, although with more biographical detail forming their present selves. While this draws parallels to Jackie’s character (played by Mercy Eke), the book takes it a step further by informing the unpredictable nature their desire for freedom has taken.
A similar perspective has been remarkably utilised in South African cinema, taking the racial and political material into their storytelling. Due to their divisive history, the Rainbow Nation has some of the most politically aware filmmakers in Africa. From classics like ‘Tsotsi’ to recent productions like ‘The Brave Ones’ and ‘Collision,’ their rich history is used as a backdrop to advance storytelling. Similarly, the currency of ordinary life is peeled back with close detail and there’s a gradual progression to connect the misfortune of poverty with the suaveness of wealth. In ‘Shanty Town,’ director Dimeji Abiola sets out to unearth the connections between the political and the underworld, but falls flat when lead antagonists such as Scar are conjured without much depth. This leaves viewers wondering what circumstances could possibly have shaped a man like Scar.
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Time constraints however impound on every production, especially for Netflix where economy of storytelling is the current trend. Acting-wise, ‘Shanty Town’ would no doubt be an early-year provider for forthcoming movie awards. Most people would walk away from this remembering Scar, so wonderfully embodied by Chidi Mokeme. The veteran actor in an interview with Channels TV revealed he suffered from Bell’s Palsy during the promotional period of ‘76,’ the Izu Ojukwu film which he also starred in. His return here fittingly captures his range as an actor: from his body gestures down to his code-switching between Nigerian languages, his performance is a career-highlight which places him favourably for future roles.
The women of ‘Shanty Town’ all delivered splendid performances as well. Nancy Isime proves that she gets roles not just by being well-connected, and Mercy Eke does well in her showing as Jackie. Both friends on-screen, they’re the prism through which Scar’s terrifying acts reflect in the early episodes. On their part, Nse Ikpe-Etim and Ini Edo (who’s rather divisive in her role as Inem) portray strong women characters. Their relationship isn’t as lovey-dovey as the former, but it’s certainly more rewarding and more consequential to the plot (the Ibibio spoken between them is also a refreshing touch). Although he doesn’t say much beyond “everywhere good” and “body dey pepper me,” Zubby Michael in the role of Colorado holds his own pretty well, a character many viewers would find themselves increasingly liking with every passing scene.
Aesthetically, ‘Shanty Town’ is a well-put together production. At this point, Netflix has a preference for certain kinds of stories and the creators sell it well. More crucially, a fine job is done of the execution, especially from a technical viewpoint. With the exception of its writing failing to advance the conversation of similar sex-meets-crime-meets-politics movies, the usage of cinematography is brilliant. The artsy design of Shanty Town was especially pleasing to the eyes, while the angle of the shots improved the film’s tensions. Perhaps the soundtrack could have been better, but again, I understand the pop-leaning direction. It’s like a child building a house of Lego bricks and it starts to rise above their heads. They can either continue or call it a day—for their unique motivations, the creators of ‘Shanty Town’ choose the second option.
ICYMI: MIXED REACTIONS TRAIL NANCY ISIME’S BODY DOUBLE REVELATION IN ‘SHANTY TOWN’
Ryan Coogler’s Vision For SINNERS
The celebrated filmmaker gives some insight into his new movie,
There is an alternate version of African-American history stitched together by music. From the harmonic melodies that followed them off slavers ships to the home-harkening cottonfield tunes that provided succor during the horrors of slavery, African-Americans have always used music to remember and call one another to action. The stakes are seemingly as important in Ryan Coogler’s new movie, SINNERS, where the music of Sammie (played by newcomer Miles Caton), a prodigious blues singer, turns a night of revelry on its head as a horde of vampires attack a juke joint set up by the identical Moore brothers (played by Michael B. Jordan).
Set in the Mississippi Delta in the 1920s, SINNERS is faithful to its timeline in tone and tenor but confronts issues like racism, colourism, and Black ownership that continue to have modern resonance while deftly sidestepping stringent categorisation. It is Ryan Coogler’s first original conception and it bears the defining personal insights and quirks that have made franchises like Black Panther and Creed hugely successful, while sealing Coogler’s reputation as one of the most respected filmmakers of his eras.
Ahead of the release of SINNERS, we had a brief chat with Ryan Coogler about his latest film.
Where did the inspiration for ‘SINNERS’ come from?
It came from my relationship with my uncle. He came from Mississippi and he loved Blues music. I would listen to the music with him and that happened for most of my life. He passed away 10 years ago and, since he passed away, I got more interested in the music and that’s where the seed of the idea came from.
Do you think the movie was made to honour your uncle’s memory?
Yes, for sure.
‘SINNERS’ is set in the 1920s American South. Why did you settle on that time period?
I settled on that time period through studying what year would make the most sense for Blues history. What I think this time period represents for African-Americans is that it was the Great Depression and, while studying, I found out that it didn’t affect Black people as much as it affected white people because there was nowhere for Black people to go socio-economically, they were already as down as they could be. Interestingly, it was a time when white people and Black people were in contact with each other due to what happened with the economy.
You collaborated with Michael B. Jordan again, what made him the right fit for the role?
I think Mike has a unique combination of range and charisma. Charisma is something that can’t be learnt, you have to be born with it and, a lot of the characters in this movie, are extensions of their charisma. You have to believe that these guys can come back into town after seven years and throw a party and get people to show up. For me, that was the biggest part of it. I wanted an actor that was flexible and charismatic in two different kinds of ways. Smoke has his own charisma but he’s an introvert whereas Stack’s charisma has to be more of a projection, and that’s very difficult because you have to be born with that charisma. Also, you have to know how to manipulate through acting techniques, and Mike is uniquely capable of that.
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Fanti Carnival Returns to Lagos This Easter with a Vibrant Celebration of Afro-Brazilian Culture
The historic Fanti Carnival is set to make its grand return on Easter Sunday, April 20, 2025, bringing the...
The historic Fanti Carnival is set to make its grand return on Easter Sunday, April 20, 2025, bringing the streets of Lagos Island alive with colour, music, and culture. With roots dating back to 1890, the Lagos Fanti Carnival is one of Nigeria’s oldest and most vibrant cultural traditions, celebrating the deep ties between Nigeria and Brazil through a dynamic fusion of Afro-Brazilian heritage and modern creativity.
This year’s edition is supported by the Lagos State Ministry of Tourism, Arts, and Culture, in partnership with Robert Taylor Media and the Brazilian Descendants Association of Lagos. Together, they aim to honour the legacy of the Afro-Brazilian community in Lagos — descendants of formerly enslaved returnees who shaped the city’s culture, religion, and architecture.
The carnival procession will kick off at 12:00 PM, starting from Old Defence Road and will end at the JK Randle Centre, with accreditation beginning at 10:00 AM. Attendees can expect a stunning showcase of traditional costumes, Afro-Brazilian drumming, dance, and performances from local creatives reinterpreting heritage for a new generation.
Whether you’re drawn to the dazzling pageantry, the live performances, or the chance to connect with a rich cultural history, the Fanti Carnival is an unmissable event this Easter.
Tickets are now available, and more information can be found via the official Fanti Carnival website or their social platforms.
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Vlisco’s “The Garden Of Sisterhood” Campaign Comes To Life in New “MAYANGA” Video
A celebration of creativity and cultural
Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of its women’s month celebration. The campaign, which looks to extend Vlisco’s rich legacy in African fashion and its ongoing celebration of creativity and cultural storytelling, takes inspiration from Congolese musical icon Fally Ipupa’s latest single, “Mayanga.” The song’s accompanying music video was shot in the Ivory Coast, and seamlessly balances Ipupa’s signature soulful Rumba music with intricate floral motifs and soft, elegant colour palettes that celebrate the strength and individuality that blossoms through community.
In addition to Fally Ipupa, Vlisco also tapped up Ivorian fashion designer Loza Maléombho and Nigerian director Daniel Obasi to contribute to ‘The Garden Of Sisterhood’ campaign. Maléombho’s unique designs and Obasi’s striking storytelling helped contribute to actualising Vlisco’s distinct aesthetic and vision of merging heritage, creativity and fashion.
In a statement discussing the collaboration with Vlisco, the Congolese superstar described it as a beautiful experience. “They understood my vision of working with talented artists and honouring the beautiful women who wear Vlisco fabrics. By creating exclusive designs for me and the remarkable women in the cast, Vlisco really brought our artistic vision to life, harmoniously fusing music and fashion,” he said.
Similarly, Marlou van Engelen, the creative director of Vlisco, expressed that it was an honour working with Fally Ipupa. “His song ‘MAYANGA’ perfectly reflects our admiration for the women who shaped us, inspire us, and mean so much to us. For us, it’s not just about fashion; it’s about the stories told through our beautiful prints. And I believe the best stories are always told together,” she said in a statement.
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