At what point will threadbare clichés of ethnocentric Nigerian humour stop being escapist entertainment, and start to become an essential narrative to avoid when producing films? Klippers, a mid-ranking American-Nigerian entry loosely weaves a whole narrative within its most obvious image: that of a Nigerian who plays the role of an assassin and holds two lovers at gunpoint while continuously spluttering Igbo insults at them. While at it, he melodramatically beats a West African Drum at intervals. The one-hour thirty minutes film over-saturates itself in this scene, a bleak vision that doubtlessly represents its synopsis, but without any added flesh. The movie’s low-budget power is flawed by a growing reliance on this single incident and context.
The power of a story is when it is a complex whole — a series of event. In Klippers, only a few stakes are raised and pulses quickened by the Nigerian filmmaker, Ofu Obekpa (who doubles as the main character, Steven) and the Nigerian producer, Conphidance (also acting as the Nigerian Assassin, who is artlessly identified as ‘Drummer’ on the closing credits of characters). They offer cringe-worthy dialogue by constantly delivering bland one-liners such as:
Maybe you should get a woman someday and your perspective of life would change _Steven
Poison has been overused in Africa, I’ll rather use a gun _ Drummer
If you are a kind person, you would have given your life up like Jesus did for us _Drummer
What is he saying? Shouldn’t you understand…aren’t you African or something? _Clara
Don’t you know when men are talking women should keep quiet _Drummer
The Nigerian-Assassin-Drummer embodies his role with such aggressive patriarchal values that have too easily been the stereotyped image of an old-fashioned Igbo man. This general formula continues as he utters Igbo insults (Anufia, Ewu, Nkita etc.), male chauvinism, broken English, biblical words of wisdom, and beats his drum with “African” method-acting. The delivery by actors was both excessive and deficient altogether. Acting, as Uta Hagen says, after all, has to do with ‘making the businessinvisible’; to ‘live truthfully under any given circumstance’ (Meisner). Moreover, Nigerians do not necessarily speak with such intently concentrated native-accent that Black-American actors (recall Will Smith in “Concussion”, 2015) always try to reproduce in such a wrong way.
When Clara’s friend appears from nowhere and more assassins appear at the house to kill Clara and Steven, and also after Clara and Steven succeed at killing everyone, emotional background music plays. At these points, Klippers felt like an old-school Nollywood storyline in dribs and drabs. The dramatic weight was both inexistent and too much to bear; even when some acts were indeed funny, I refused to laugh because the movie became an exercise in re-cycled African-Nigerian action-comedy. While there were Nigerians who had a good laugh, it would appear that we Nigerians like slapstick comedy and are easy to impress –perhaps why Obekpa’s idea wasn’t an ambitious one.
The leads manage to not act as intentional as the other second-class actors –particularly Black Panther Alumnus Obekpa, striving to the verge of a breakthrough. But as a director, Obekpa seems overly patient about this success; the spectacle he generates for a movie produced in 2017, released in theatres August 10th 2018 in Nigeria, is tentative at best.
When viewers were done watching Klippers just yesterday at Ikeja City Mall, Saturday 11th August, Ofu Obekpa himself was present to take pictures with the viewers. Asides Black Panther (2018), Obekpa is also known for Captain America: Civil War (2016) and American Made (2017).
Check out the official trailer below.
Featured Image Credit: Instagram/@Klippersthemovie
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Fisayo is a journalist in search of words. Find her on twitter @fisvyo
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...
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.
Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of...
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 accompanyingmusic 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.
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...
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: