Diana Childs makes her cinema debut with 143, a title derived from the numerology slang for “I love you.” Childs delves into the complexities of an age-gap relationship, presenting a narrative that may challenge your moral compass, leaving you torn between rooting for the romance and grappling with its unsettling implications.

Note: spoilers ahead!

Story

143 explores themes of love, societal norms, and resilience, challenging the taboo of age-gap relationships where the woman is older. It portrays the journey of two people attempting to defy traditional expectations, set against a backdrop of societal judgment and emotional turmoil. However, while the narrative touches on domestic abuse and the search for happiness, it falters in its portrayal of the protagonist’s personal growth.

Chris’s journey is framed as empowerment, but she remains largely passive, painted as a hopeless figure incapable of freeing herself. Ultimately, her fate hinges on the intervention of Aunty Agnes, diminishing the story’s potential to deliver a truly transformative or empowering arc. The forbidden romance at its heart also struggles to convince. Chris’ relationship with Kachi seems to replace one form of toxicity with another, further weakening the film’s message of rediscovering love and healing.

Plot

Christina/Chris, an older woman in an abusive marriage, meets Kachi, a younger man, and they develop a forbidden romance. As Chris finds strength in their love, she struggles to break free from the control of her abusive husband, Kenny, culminating in a climactic confrontation that tests her resolve to reclaim her life and embrace happiness.

Technical Aspects

143’s technical elements has notable strengths, though they are often overshadowed by several shortcomings. The cinematography, for instance, showcases some innovative choices that could be interpreted as reflecting the moral dilemmas at the heart of the film. The tilted camera angles, though used sparingly, seemed to emphasize the distortions in the characters’ values and the chaotic nature of their emotional journeys.

Lighting in the night scenes was adequate in terms of visibility, but the placement of the lights often felt unnatural and inauthentic. One glaring flaw was the film’s sound, which was inconsistent and poor. The film looks good and. adequate for the genre.

In terms of costume design, one of the film’s strongest technical elements, the progression of Chris’s wardrobe mirrored her journey from repression to self-expression. Her restrictive clothing—dictated by her controlling husband and his mother—gradually gives way to more liberating choices as she enters the relationship with Kachi. The removal of her wigs, for example, symbolizes her shedding the constraints of her former life.

However, when her husband, Kenny, returns and comments on how “different” she looks, it feels confusing. Chris has changed back into her restrictive clothing, so it’s unclear what Kenny is noticing. If the costuming had maintained the liberated choices even after her emotional growth, the impact of this moment would have been stronger, reinforcing her evolution.

Performances

The performances in 143 are serviceable but underwhelming. While most of the actors deliver what’s expected of them, the lack of strong character development prevents any real emotional connection with the audience. Obinna Okenwa, as Kachi, plays his role as the typical loverboy once again. His intense gaze and physical presence convey a certain allure, but his character feels like a typecast, and it’s hard to fully invest in his relationship with Chris.

The chemistry between him and Chris (Diana Childs) is meant to be the heart of the film, but it lacks the depth needed to make their love story feel genuine.

Diana Childs (Chris) does enough to make you root for her to escape the abusive marriage with Kenny, but the romantic connection with Kachi feels forced. The age-gap taboo could have been an interesting angle to explore, but the relationship between Chris and Kachi doesn’t come across as authentic, leaving you questioning its believability.

Baaj Adebule, as Kenny, Chris’s abusive husband, seems performative. At times, his performance borders on the caricature of a villainous, toxic husband. The moments meant to be tense or menacing instead come across as almost comical.

Tina Mba plays Aunty Agnes, a character who, despite having limited dialogue, plays a crucial role in the film’s resolution. Aunty Agnes is the one who ultimately saves Chris, the damsel in distress. However, her character spends much of the film in silence, leaving you to wonder if her presence was more about the star power Mba brings than any substantial character development. Her late intervention serves as a turning point, but it’s hard to ignore how little she contributes throughout the majority of the story.

The supporting cast includes Tomiwa Tegbe, Uzor Arukwe, Blessing Onwukwe, Chy Nwakanma, Brutus Richard, Rosanne Chikwendu, Daniel Abua, Bryan Okoye, and Lolade Okusanya.

Final Thoughts

The relationship between Chris and Kachi is deeply problematic, and what’s troubling is that the film attempts to present it as something sweet or romantic when, in reality, it’s far from it. Kachi, the photographer, dares to make his feelings for Chris, a married woman, glaringly obvious (though that’s the point of the narrative—the taboo of it all.) He is hired to cover events, yet he’s pursuing the wife of his client with such blatant disregard for boundaries.

The film makes it painfully obvious that Kachi likes Chris, which, honestly, would have worked better if it had been more subtle. The idea of him as the “romantic” interest feels forced and uncomfortable, considering the circumstances.

What’s even more troubling is that Chris, already trapped in an abusive marriage, seems ready to make a new type of mistake. She’s rushing into another questionable relationship without considering the consequences. It seems as though she just wants an exit, regardless of what that means for her emotional well-being. Yet the filmmakers attempt to frame this as some form of romantic liberation.

Instead of exploring the deeper emotional complexities of Chris’s situation, the film simplifies it into a problematic love story. Rather than focusing on her need for genuine healing, the filmmakers seem to trivialize her journey by presenting this new relationship as a hopeful escape, when it’s far from it. This is not a love story—it’s a misguided and unhealthy relationship presented under the guise of romance.

Verdict

143 aims to present a heartfelt romantic drama about finding love against societal expectations, but its portrayal of love feels unconvincing. The film struggles to justify its message, leaving viewers questioning its intent. However, if you’re drawn to taboo love stories and the complexities of morally grey areas, this film may offer a nuanced exploration.

This is Diana Childs’ different offering, where she challenges conventional views of right and wrong.

Rating: 2.5/5