AV Club: ‘The Man of God’ Is About A Pastor-Turned-Crook But The Bigger Story Remains Unsolved
a movie that asks more questions than it can answer
This month, Bolanle Austen-Peters’ ‘The Man of God’ was released on Netflix Naija. Its debut on the streaming platform was primed for notable viewership, bolstered also by Austen-Peter’s important role among the foremost cultural curators in African theatre. For years, her Terra Kulture outfit have produced stage plays which largely pay homage to great personalities and traditions. Partly influenced by the Yoruba travelling theatre culture, her plays are scarcely reproduced on digital platforms, making ‘The Man of God’ one of the early mainstream showcases of a BAP Production.
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Although the film mainly revolves around religion, its earliest appeal was the juxtaposition with music. ‘The Man of God’ opens in present time with the protagonist Samuel (played by Akah Nnani) performing Fela-esque music in a place that could easily be the New Afrikan Shrine. As a start, this choice was quite explosive but Samuel didn’t seem in-sync with the music being performed, which was far more energetic than he could afford. Immediately, this pokes holes in the narrative, failing to possess the grainy quality of real sound, or hold candle to the character of Samuel, in a way that moves the narrative. He also can’t seem to stop smoking on a blunt, on-stage and off, but we don’t see him indulge in this act throughout the other scenes in the film.
Some might consider this a harsh critique of what obviously is a background to the main action, but it’s a quintessential example of the film’s persistent disregard for detail. Later, we see Samuel being a university undergraduate and still performing at shows around the state, but there’s not enough to ground the viewer in either of his worlds. Few scenes dedicate themselves to capturing the university’s peculiarities, discarding classic locations (lecture halls or a night party) that would have strengthened the narrative. Beyond that, the affairs of an infamous music industry is rarely broached. He makes mention of playing some gigs but those scenes are treated as inconsequential, a breezy prelude to the main course of action.
The shining light in those early parts of the film is Samuel’s best friend Rekya (Dorcas Shola-Fapson) who also doubles as his lover and band member. Her acting captures the dilemma of modern relationships, torn between one’s desires and what’s good for both lovers. The film is coloured by her flirtatious character, easing the heavy sense of melancholy that follows Samuel. And yet, although her character was necessary, the trajectory wasn’t respected in the overall plotline. When she excitedly tells Samuel of a business that’s been raking in mad revenue, there’s a nagging possibility that one of her trysts could have been followed. A character from there could have resurfaced later to strengthen the narrative quality yet little is done to advance this.
Instead, the story evolves with the introduction of Teju (Osas Ighodaro) and Joy (Atlanta Bridget Johnson), completing a love triangle around Samuel. Its strengths come into view then, recording the nuances of conversation as Samuel’s infatuation with Joy clashes with Teju’s affections for him. In one humorous scene, after Teju tries for the umpeenth time to get him to attend Bible Study, Rekya tells Samuel it’s obvious she wants to have sex with him. “Just give am strong thing, sharp sharp…she go free you,” she says in a smooth manner which underscores the braziness of her character.
The theme of abuse was visited early in ‘The Man of God’, but there wasn’t a clear direction for its execution. Samuel is immersed in the activities of a musician, but his past creeps up: the film had opened with flashback scenes where his father, a popular pastor, used to beat him mercilessly, quoting Proverbs 14:12 to justify his rather severe disciplinary methods: “There is a way that seems right to a man, but the end thereof is destruction”. That statement is finely worked into Samuel’s central dilemma of finding himself, haunting him when he makes any choices.
When Samuel becomes a pastor, the narrative comes full circle. But, just as in earlier parts of the film, some crucial aspects are left underdeveloped or completely glossed over. Samuel’s marriage to Teju is skimmed over, which makes it difficult to feel its conflicts later on. When his best friend Rekya resurfaces, involved in even murkier deals, there’s no mention of its details or how Samuel develops into them. The church sermons and politics vividly evokes the pomp of what happens in real life, and Eucharia Anunobi brilliantly executes her brief role as an uncouth reverend. For a while, this change of setting offers a feel-good, modernist portrayal of contemporary Christianity in Nigeria but then you remember why Samuel’s here after all–to find his true self, be it musician or preacher or doting family man.
That internal conflict is never resolved with sufficient depth. It’s even more striking that about a week before this film’s release, a gospel musician met her untimely death at the hands of an abusive husband. That ugly event opened a conversation into how society turns a blind eye to anything which remotely concerns religion. The film’s also coming at a time when more than ever people are questioning the moral pedigree of their religious leaders.
African societies are intrinsically bound by religion. While centuries have passed since our initial encounters with missionaries, it still remains deeply entrenched in many countries including Nigeria where religion and state typically intertwine. ‘Man of God’ is obviously a timely film and that is why its accumulative misjudgements weigh so heavy in the end. Nigerians today are demanding justice from a lot of things, and our stories should reflect that. Where’s the justice in Samuel being traumatised and still shamed for being unable to love his abusers? Where’s the justice in Rekya being discarded like just any other character? In movies like these conservative moral lessons should take the back seat in favour of narrative balance.
Overall, ‘The Man of God’ shines with really good production—great costuming, a brilliant cast and well-done scenery—but the storyline doesn’t advance the many important conversations that has left many young Nigerians with great need for therapy. That glory never came and perhaps indeed, that is the lesson to be learnt in film and in life. Nobody is coming to save you or quicken your road to self-discovery–life is instead, a balancing act between pursuit and fear.
Watch ‘The Man of God’ on Netflix Naija here.
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ICYMI: How ‘King Richard’ Loosely Portrays The Complexities of Black Fatherhood
Studio monkey shoulder is funding ideas to bring music communities to life
N20 million up for
Following a successful first campaign, Studio Monkey Shoulder returns to Nigeria for the second year in a row. A brainchild of the Scottish Whisky brand Monkey Shoulder and online radio station Worldwide FM, Studio Monkey Shoulder is a grassroots music initiative created to fund trailblazers who are pushing sonic boundaries while also fostering real-world connections across different regions. Last year, Jazzhole received the Nigerian grant to digitally remaster rare archival recordings that preserve and celebrate Nigeria’s rich musical heritage.
This year, the competition, in continued partnership with legendary DJ and Worldwide FM founder Gilles Peterson, once again invites the country’s most innovative and ambitious grassroots music communities – everything from from independent record stores to DIY music venues, online radio stations and collectives – to apply for a £10,000 grant (₦20 million) to bring their hugely imaginative music projects to life.
“I am thrilled to see Studio Monkey Shoulder grow in its second year in partnership with Worldwide FM. It’s been a privilege to work with the communities we supported in 2024, seeing their projects thrive and come to life,” Peterson stated in a press release. “I am excited to uncover more amazing community-driven projects in Nigeria and witness the talent that comes with it as the project evolves in year two.”
The winner of this year’s grant will join an international creative network that’s designed to elevate community voices and bring their stories to a global stage. Applications for Nigeria’s Studio Monkey Shoulder Fund open on April 28th and close on June 1st.
For full details and to apply, visit this website
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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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