The 19th New York African Film Festival: “Relentless”

“Relentless” is fundamentally a film about Lagos. About how director Andy Okoarafor sees it. In Okoarafor’s rendering, Lagos is a hard, inhospitable city, where people look stressed out, always hustling. They’re always on the move. But Okoarafor also has loves this city. At the film’s heart is the strong-jawed lead character Oba, played by Gideon Okeke, who spends most of his driving and walking around the city–its clogged highways, in its churches and beach bars.  He is a former peacekeeper, back from Sierra Leone, where his wife, a local woman, was brutally murdered by rebel soldiers. Emotionally scarred, he returns to Nigeria where he now runs a security company protecting politicians and other important people. On one of his wanderings, he saves a prostitute (played by singer Nneka Egbuna) who fell off a bridge–she was pushed by people who want her dead.  She wants Oba to help her find her friend, another prostitute, who has gone missing after entertaining some politicians and generals. Oba realizes that his new clients may be involved.

Director Okoarafor, who has a background in music videos and fashion, and his expertise in using arresting scenes to promote something shows here, in the beautifully framed and filmed scenes. His work looks nothing like the washed out tone and empty locations of South African films (the only other place on the African continent where a locally-funded film industry exist), and instead, reminds us of Tom Ford’s work in A Single Man, only grittier.

Beyond the aesthetics of the film are Oba’s seeming loneliness and aimlessness. (He has flashbacks of his earlier, happy life with his Sierra Leonean wife.) In interviews Okoarofor has spoken about showing “a true reflection of Africa today” and how Africans “go about our normal everyday lives without any exaggeration or apology”; his film remains true to that injunction.

Here’s the trailer

Relentless,” a showcase presentation at the festival, plays on Friday, April 13, at 8pm at the Walter Reade Theater at Lincoln Center.

* Africa is a Country will review films from the 19th New York African Film Festival (April 11-17) over the next few days. Also come to the two panels on “Cinema and Propaganda” which we are co-presenting with the Festival on Saturday, April 14, from 1.30-4pm at the Lincoln Center in Manhattan.

Further Reading

Repoliticizing a generation

Thirty-eight years after Thomas Sankara’s assassination, the struggle for justice and self-determination endures—from stalled archives and unfulfilled verdicts to new calls for pan-African renewal and a 21st-century anti-imperialist front.

Drip is temporary

The apparel brand Drip was meant to prove that South Africa’s townships could inspire global style. Instead, it revealed how easily black success stories are consumed and undone by the contradictions of neoliberal aspiration.

Energy for whom?

Behind the fanfare of the Africa Climate Summit, the East African Crude Oil Pipeline shows how neocolonial extraction still drives Africa’s energy future.

The sound of revolt

On his third album, Afro-Portuguese artist Scúru Fitchádu fuses ancestral wisdom with urban revolt, turning memory and militancy into a soundtrack for resistance.

O som da revolta

No seu terceiro álbum, o artista afro-português Scúru Fitchádu funde a sabedoria ancestral com a revolta urbana, transformando memória e militância em uma trilha sonora para a resistência.

Biya forever

As Cameroon nears its presidential elections, a disintegrated opposition paves the way for the world’s oldest leader to claim a fresh mandate.

From Cornell to conscience

Hounded out of the United States for his pro-Palestine activism, Momodou Taal insists that the struggle is global, drawing strength from Malcolm X, faith, and solidarity across borders.