Politics of Nostalgia in My Father’s Shadow

Yinka Olatunbosun

A nation’s dream for democratic government crashed as the results of the June 12 1993 elections were stalled and eventually annulled by the military government. The situation was chaotic as relived on screen when Akinola-Davies Jnr. (director) and Wale Davies (screenwriter) collaborated on the movie “My Father’s Shadow.” Released in Nigeria on September 19, 2025 by FilmOne Distributions, My Father’s Shadow was the first Nigerian film to be selected for the Cannes Film Festival’s Official Selection (Un Certain Regard) earlier this year, and it received the Caméra d’Or Special Mention for best debut feature.

Hence, the heightened curiosity for this movie in Nigeria was expected. Despite being Akinola-Davies Jnr’s debut full-length movie, My Father’s Shadow asserts a presence on Nigerian cinema with its unique storytelling technique. Abiding by the cinematic rule of show-not-tell, Akinola-Davies Jnr. gives a visually detailed account of life in Lagos with the plot that follows an estranged father and his two sons. Caught in the drama that ensues after the annulment of the June 12 elections, the viewer follows the near-autobiographical drama from the rural to the city- rekindling the collective memory of Nigerians who lived in Nigeria at that time in history. Visual cues outweigh dialogue in the movie as the silence allowed for the audience to be immersed in the world of a father and his sons.

A truthful story depicting nationhood, communality, identity, poverty and escapism, My Father’s Shadow unearths a subtle political message through the layers of humanity driven by a father’s love and a conflict between his dream and reality.

Starring the Nigerian-British actor, Ṣọpẹ́ Dìrísù as Folarin in the lead role, the movie introduced audiences to first-time child actors Chibuike Marvellous Egbo and Godwin Egbo, who were discovered through a Lagos street casting campaign. The film was shot entirely in Nigeria, with visual signposts such as Lagos’ natural landscape, leaking roofs, poor public transport and other socio-cultural elements that inadvertently characterize the city; deliberately interlocked to mirror a nation’s decaying infrastructure and natural beauty. The boys were bystanders in history, absorbing conversations about fuel scarcity, presidential elections and the savagery of the Bonny Camp Massacre.

Juxtaposing the reality and fantasy, Folarin is portrayed as an enigma of sorts. Set against the military era, it was nostalgic to watch a playback on history with actual news footage of Presidential aspirant MKO Abiola alongside reimagined military broadcasts from the tumultuous era.

At the premiere supported by The Glenlivet Single Malt Whisky and Guiness Foreign Extra Stout which held at Filmhouse Cinemas IMAX, Akinola Davies Jr. remarked: “I hope that audiences will relate to the same things I love in the film – the family, politics, the spirituality, and the psychology: trying to navigate all of these aspects in a mid-nineties Nigerian period drama is what helps make this film unique. We’ve tried to make something that is accessible, so that when people watch it, they see a reflection of themselves and experiences that they are familiar with.”

A cultural reference, My Father’s Shadow is not just a cinematic experiment but a vehicle of championing a collective experience and trauma.

The Group CEO, Filmhouse Group, Kene Okwuosa reflected on how this movie would resonate with the Lagos audience. “My Father’s Shadow has received remarkable recognition on the international stage, and we believe it is important that audiences in Nigeria, Ghana, and Liberia also share in this landmark achievement. Our decision to distribute the film across these territories reflects our commitment to showcasing African stories at the highest level, not just globally but within our own region.”