AV Club: Daniel Oriahi’s ‘Sylvia’ won’t break any glass ceilings, and that’s ok
Do we really need any more stalker-ex psychological thrillers?
Back in February, Netflix announced its official launch in Nigeria, a move that was highly anticipated for many viewers, since the procuring of Genevieve Nnaji’s ‘Lionheart’ back in 2018. Since then Netflix Naija, as they’ve dubbed themselves, has been regularly updating their catalogue of Nollywood films and shows, and it’s been interesting seeing new audiences react to films that have come out years ago, in some cases.
It was through this ever-growing bank of Nollywood films on Netflix that I stumbled across the Daniel Oriahi’s 2018 film titled ‘Sylvia’, which has just been added to the streaming behemoth. Despite not being a Netflix Naija original, procuring the film, and a number of other Nollywood films like ‘Sugar Rush’ and ‘Your Excellency’, on license for an online audience to consume shows Netflix’s willingness to help showcase the diverse playing field of filmmakers and directors from these parts to a much wider audience. Unlike other films on Netflix Naija, ‘Sylvia’ was a commendable attempt at a psychological thriller that kept viewers at the edge of their seat, but ultimately it left little to be desired as it peddled familiar tropes that have been explored again and again in Hollywood.
‘Sylvia’ follows the story of Richard, a successful businessman (played by Chris Attoh) who finds himself in a psychiatric home. His well-polished diction and articulate speech quickly distinguish him from the other patients in his ward, and this is how we learn, through flashback, the harrowing tale of how he landed in a psych ward. Richard narrates the story of how he had found a friend in a young girl named Sylvia, a figment of his imagination which he could only visit through his lucid dreams and the aid of a red hibiscus.
As the years grew by, Sylvia and Richard’s love and friendship blossomed, as she was always there for him whether he needed help with school or work and when his mum passed away, Richard had no one to turn to other than Sylvia. After school, Richard moved to the city for a bigger corporate job and there he found Gbemi (played by Ini Dima Okojie) who he fell in love with and later married. Pissing off Sylvia with this intention, his first love vows to prove just how much she loves him by seeking revenge on Richard, and his spouse, for using her love when it was convenient but dumping her for a ‘real’ girl when it was not.
Sounds familiar right? Well, it’s because we’ve seen it before. I’m sure you saw it in Beyoncé’s ‘Obsessed’, and if you missed that then you definitely caught it in Netflix’s ‘Fatal Affair’ released just last month and in a myriad of other Hollywood movies released over the years that explore the murderous stalker ex plot. It seems that the stalker-thriller trope is a very popular genre, even for Nigerian audiences. The plots aren’t that greatly different, save for minor additions, but the main premise consists of a willfully oblivious man, his current lover or wife, his ex-jilted murderous lover, and the fight to win him over, resulting in at least one person dead or greatly injured. It’s a played-out predictable plot with ‘Sylvia’ now joining the ranks of films in this storied genre.
The only catch this time is the attraction for Nigerian audiences – the spirit wife. As a Nigerian, I’m sure we’re all familiar with the premise of spiritual spouses as religious culture in these parts is rife with tales of people finding out they’re entangled with a spouse from the spiritual realm. As spooky as it may be, we grew up learning that those spirits were evil, and if you ever found yourself attached to one then you needed all the deliverance and anointing oil, because it was a hint at larger monitoring forces at work in your life.
With ‘Sylvia’, Oriahi delves into this supernatural phenomenon as he plays out our parents’ worse nightmare on screen. Sylvia is powerful enough to materialise in the physical world, despite being reduced to barely the figment of a man’s imagination. She’s the villain because she tricks Richard to kill those who he loves dearly, but there is a human element to Sylvia. She may be the most powerful evil being in the universe but she feels just like we do, she gets sad, she gets heartbroken and she gets angry when things don’t go her way.
Indeed, the best and most enjoyable part of ‘Sylvia’ is its acting performances, with Zainab Balogun especially (who plays Sylvia) taking full control of the reigns and really excelling in this role as she shows off a level of depth and self-awareness like we’ve seen before from her. She commands each scene she appears in with little effort, and even when she’s missing from the scenes, the sighting of a red hibiscus reminds you that she is always there, like an omniscient character.
Despite these little enjoyable moments in the film, ‘Sylvia’ was full of awkward corners and left very little to be desired in the end. You knew from the onset how it would play out; spoiler alert, he loses his wife and later his best friend because of Sylvia’s bloodthirsty revenge and it’s his determination to escape her that lands him in the psychiatric ward, spending out the remainder of his days to escape facing the jilted lover. The stalker ex is an incredibly played out trope, so why do we keep getting more iterations of the same storyline over and over again?
The truth is that there is something comforting about the familiar. Actress, Nia Long who herself recently starred in one of the many iterations of the stalker-ex thriller, recently shared that the success of the genre was due to the habitual nature of humans. She says: “People know what to expect. I think people love the idea of knowing somebody is crazy, and somebody might die. They’re all for it. You can just sit there and be entertained for 90 minutes and give your mind a break from the very interesting times we’re living in right now.” So, perhaps this move to include ‘Sylvia’ on the Netflix catalogue is helping viewers get a much-needed break from the tumultuous state of the world right now, through their fix of the predictable.
Still, given that filmmaking is a creative medium, it should not be too much to expect that our filmmakers get creative, or, what is more likely the case, are given the full scope to be creative by the studios and execs who make the crucial decisions in the big budget film industries. Of course, the stalker-ex thriller is a tried and tested genre that is sure to leave the audience satisfied (unless, like me, they are thinking critically about the cultural implications of once again feeding into the perfidious stereotype of unhinge female lovers), but it is frankly a cop-out for studios to suggest that certain movies wouldn’t sell when no one has tried to sell them. Given how gratuitous narratives persist in contemporary Nollywood – for example the wedding storyline that suggests marriage is the pinnacle of a woman’s life, or the existence of a patriarch who remains ‘head of the family’ the even after his death – it is about time we began demanding more imaginative, diverse and inclusive movies. This is not simply for entertainment’s sake, but more importantly for the sake of our society, so that we may adequately reflect the multifaceted realities of Nigeria and also encourage the viewing population to imagine a better future for the country.
With that said, ‘Sylvia”s inclusion on Netflix is a noteworthy moment as it inadvertently highlights the range of Nigerian directors and filmmakers now streaming on Netflix and opens up wider conversations on the caliber of films to expect on the growing Nollywood catalogue. There is a case to be made for allowing this growing industry to gauge audience reactions online to a slew of Nollywood movies, and in as much as we want quality movies on Netflix, it won’t be uncommon for the streaming platform to feature both high-end and low-end films in its catalogue.
Surfing through the expansive catalogue may be a long and arduous task when it comes to finding the right film to watch, but perhaps therein lies the beauty of it; not all Hollywood films are spectacular, some are deeply mediocre and we should be okay getting the same on Netflix Naija. It gives us a chance to really question the caliber of entertainment we’re receiving and allows for films like ‘Sylvia‘ to take on new life and find new audiences.
Featured image credits/Netflix
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NATIVE PREMIERE: Rigo Kamp Runs Ahead Of The Pack With The Visuals For “Marathon”
Rigo Kamp’s Marathon video is an intimate Afro-juju revival that pays homage to Sir Shina Peters and stamps...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.
Featuring previously released singles “Morning Sun” and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.
Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.
On “Marathon”, the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.
Get an exclusive first look at the video for Marathon here:
Listen to the Rigo Kamp EP:
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Togo YEYE & VLISCO’s new collaboration is a celebration of Lomé’s thriving creative scene
Togo YEYE is a community we are building for us by
Togo YEYE, a creative duo formed by Lomé-based creative director Malaika Nabillatou and London-based photographer Delali Ayivi, is a conceptual publication that was created to empower and champion Togo’s young fashion creatives. Since its inception in 2021, Togo YEYE has released several personal projects and has also partnered with a number of brands to further its hugely imaginative aesthetic mandate. For their latest collaboration, Togo YEYE teamed up with textile printing company VLISCO to present Blossoming Beauty. Tagged as a love letter to Togo’s creative community, the campaign captures Lomé’s scenic beauty alongside VLISCO’s vibrant prints with the aim of connecting the feminine grace of nature with identity and artistry.
What does Togo YEYE mean?
Malaika Nabilatou: My name is Malaika Nabilatou, I’m the creative director of Togo YEYE. I’m Togolese and I was born and grew up in Lomé. I see myself as a West African creative director and I’m working to be the best in a few years. Togo YEYE means new Togo in Ewe, one of the most popular languages spoken in the South of Togo.
What inspired you to create Togo YEYE?
Malaika Nabilatou: We started this project, my friend Delali and I, 5 years ago. We just wanted to show that Togolese youth are also creative. Togo YEYE is a community we are building for us by us. It wasn’t just a project for Delali and I. It’s become something for the creative scene of Lomé. Lomé is like our studio.
What role does Togolese culture play in your creative process?
Maryline Bolognima: For me, Togolese culture comes first. For example, in the South, there are the people of Anero. If you come, you can go to Anero. In the North, there are the Evals, so if you come to Togo, you’ll learn a lot.
What’s the most exciting part of working as a team on projects like this?
Malaika Nabilatou: I need to tell the truth, we dreamt about this campaign before [it happened]. When VLISCO contacted us, we were like wow. I can’t really explain how thankful we are to VLISCO for trusting us. Because it’s a risk that they took by trusting us, making that campaign here with our team and honestly we are going to keep it in our hearts for the rest of our lives.
Claudia Sodogbe: For me, it is the first big contract of my life that I had with Togo YEYE. I still remember, on the last day of the shoot, I was feeling nostalgic about separating from the teams and the others. It went well in any case, and I’m very grateful to have been on this project.
What has been your proudest moment as part of Togo YEYE?
Malaika Nabilatou: I think the proudest moment I had with this campaign was when I saw the result first on the website. When I saw the story, I was like “wow, we finally made it.”
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Inside The Parties Breathing New Life Into Lagos’ Nightlife Scene
No matter who you, these parties provide a safe space to let loose without fear of objectification or...
The crowd marches along on the dancefloor, vibrating to a pulse that is both familiar and electrifying. It takes a second to identify Grammy nominee, Rema’s “Ozeba,” pouring out of the speakers and whipping the crowd into a frenzy as it takes on new life as a turbulent EDM track. The crowd growls and screams in approval of the DJ’s remix, yet another banger in a night filled with back-to-back hits. Hands in the air, sweat dripping from glistening bodies, smoke floating around the dancefloor and young people gyrating with reckless abandon, Element House provides the people with the release they deserve and they reward it with an undying loyalty to its rhythm and raves as they keep coming back.
Party culture has taken on new dimensions in Nigeria over the last two decades as a reaction to economic, social and cultural progressions. This evolution of the way we party is significant considering that Nigeria is a society that lays heavy emphasis on certain accepted standards of moral behavior, rooted in culture and tradition. But that has never once stopped a good time from happening. Millennials and older gen-z will remember the street parties and carnivals of old, usually held at the end of summer holidays or in December, where music by TuFace, Mo’Hits, Akon, Shakira, Lady Gaga and 50 Cent were the staple, among others. There were certain songs automatically expected from any DJ worth his salt otherwise it was not too far-fetched to see a DJ, with his equipment on his head, fleeing for his safety while being chased by an irate mob of partygoers.
The more things change, the more they stay the same. These carnivals and street parties might have been phased out but the idea remains the same while the power and influence of communities powering party culture in Lagos and Nigeria at large has only gotten stronger, especially with the advent of social media. The Block Party series–started in Lagos, Nigeria as the Mainland Block Party–has become the go-to event to celebrate youth culture and foster connections that cut across multiple African cities and walks of life. Today, with curated events in Ibadan, Abuja, Lagos, Accra and others, a community of partygoers is assured maximum enjoyment whenever the Block Party organisers announce an event in their city of the month. The people will always return to where their tastes are catered to, bringing along friends, family and newbies eager to bask in the atmosphere of loud music and togetherness.
In 2012, Warner Bros. Pictures released Project X–a film that follows three friends and high-school students who attempt to gain popularity by throwing a party which ends up escalating out of their control and reaching epic proportions. This idea propagated by Hollywood would go on to influence several house parties thrown in Lagos during the mid to late 2010s. The idea that with the right DJ/music playing at the right venue and with just the right crowd, then immortality was possible–a party so grand that it would be spoken about in glowing terms for years to come until it became lore. Today, house parties are more intimate and controlled, the degrees of separation between attendees reduced by a mutual friend or WhatsApp group they all have in common. From game nights to karaoke sessions to kinky sex parties, whether it’s at Balloons & Cups, a Vogue Boys pool party, or a get-together by the ‘Lagos on a Budget’ IG Community, the role house parties play in the ever evolving party culture is not insignificant, creating a pipeline that feeds into the much larger raves which weekends in Lagos are becoming synonymous with.
Whether it’s Element House today, Mainland House tomorrow, Group Therapy next weekend, WIRED or a host of other house and EDM inspired movements, partygoers are spoiled for choice when it comes to where to indulge their fundamental music tastes in a secure and controlled environment. Nothing is off the menu and a good time is the only badge of honor worth collecting. The increasing popularity of the rave movement in recent years is testament to the fact that it works for both organizers and attendees. The Covid-19 lockdowns changed the way Nigerians party; after months of being isolated from their communities and having to socialize in more intimate and private spaces, it’s no surprise that raves, with their underground nature, became the outlet of choice for several young people as soon as the world opened back up. According to Tonia, a medical doctor and frequent raver living in Lagos, her first few times at parties following the end of the lockdowns were not fun. “I was partying with caution, wearing face masks constantly and carrying hand sanitizer around. It became a much better experience subsequently when everything relaxed and soon enough, I was back enjoying the time of my life at Lagos parties.”
Unburdened from the heavy spending, bottle-popping culture that characterizes Lagos nightlife and cloaked in the embrace of judgment-free anonymity and numbers, raves have become a safe haven for a community of partygoers determined to turn up in the midst of the sheer craziness of living in this day and age. For Michael-Peace, a brand & creative assistant and frequent raver, the appeal goes beyond a need to unwind and the feelings of peace he experiences at raves. “Whether I’m listening to the DJ or just watching the crowd move to the music, it’s a very mindful experience for me,” he says.“I’m grateful to just be there and appreciative of how we can all be one community or family for that period of time.”
The appeal of the rave scene is its inclusivity and it’s a common theme for the new wave of parties exploding in Lagos and environs. No matter who you are or what you stand for, these parties provide a safe space to let loose without fear of objectification or discrimination resulting from socio-economic and political differences, misogyny and other less elegant occurrences which are part of mainstream Nigerian nightlife. This is important to Tonia who, on multiple occasions, has been prevented by bouncers from entering clubs without a male companion. “I’ll always prefer raves, they are much freer and nobody is performing here. There’s no need to show off the number of bottles you bought like there is in a club. Everyone just wants to turn the fuck up and have the time of their lives.”
For five or six hours, the disco lights, turbulent music and fellow ravers provide solace from the outside world. “Dancing the night away” is not merely a suggestion but a divine mandate from the gods of the rave. It is almost impossible to emerge after such an experience and not want to do it again. The music beckons all and sundry to come out, purge yourself of all inhibitions on the dancefloor, then return home and spread the gospel of the electronic music scene to all who might listen. In Michael-Peace’s own words: “There are people I’ve put onto raves and who loved the experience and constantly thank me for introducing them to it. Once you get hooked on it, you’ll never want to let go.”
Party culture in Nigeria continues to evolve as the new wave of parties mark their time and place in history. But the street parties and carnivals of yesteryears are not to be forgotten. The power of community continues to connect the old wave with the new wave, ensuring that actual people remain the focal point of these events, and party goers can enjoy nightlife experiences uniquely tailored to their ever changing wants and needs.
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