Written and directed by Gbenga Kayode, a renowned BBNaija Series Director, Bendel Girl marks his feature film debut in Nigerian cinemas. Distributed by Blue Pictures, the film premiered nationwide on Friday, July 18, 2025. While its trailer hinted at a gripping mix of mystery, suspense, and drama, the final product fails to deliver on that promise.

A Strong, Fresh, and Promising Premise

Set in 2024, Bendel Girl follows the mysterious reappearance of Theresa, a teenage girl believed to have died 35 years earlier. Played by ex-BBNaija housemate Saskay, Theresa’s return raises questions about time, death, and the supernatural.

The film weaves a parallel storyline with Esuosa (played by Timi Agbaje), a man whose life has always been intertwined with the spiritual realm. After years of relying on mystical practices to cheat death, Esuosa suddenly finds himself rejected by the same forces that once preserved him, and now must fight for his survival.

Themes of time travel, life after death, and mystical powers offer a compelling premise. Unfortunately, this promise is quickly lost in the film’s muddled execution.

Momentum Crumbles Under Misdirection

Despite an intriguing setup, Bendel Girl suffers from a lack of narrative direction. The story meanders without a clear plan, especially in its attempt to tackle complex topics like time travel and spiritual duality. The plot often feels like it’s chasing ideas it doesn’t fully understand or commit to.

Character development is shallow, and dialogue is often weak or inconclusive. For example, Theresa’s mysterious return barely affects her emotionally or spiritually; we never truly understand her inner world, motivations, or desires. Her journey lacks personal depth, and she remains distant from the audience throughout.

The subplot involving Erika (Amanda Iriekpen) and Dave (Tope Tedela) is the only storyline that feels somewhat grounded, mostly due to the actors’ performances. Their strained relationship is believable—they know they’re wrong for each other but are desperate to make it work for hidden reasons.

However, the main arcs—Theresa and Esuosa’s—fail to meaningfully intersect. One notable attempt is a scene where a traditional priest tells Esuosa that, like Theresa, he exists between life and death. But even that feels underdeveloped. The ending leaves the audience with more confusion than closure: Why did Theresa enter the forest without any inkling of time travel? Why did Esuosa vanish without explanation? Why was Theresa’s childbirth the final scene when it adds no narrative resolution?

Performances That Struggle to Carry the Weight

Unfortunately, many performances fall flat and do little to elevate the struggling story. Saskay’s portrayal of Theresa lacks emotional resonance. Her character should have been the emotional centre of the film, yet the disconnection between actor and role is stark. Lines are delivered, not embodied, and her performance remains static throughout, culminating in visible fatigue by the film’s end.

Timi Agbaje, better known for his online comedic persona, brings that same energy to a role that demanded more gravity. His portrayal of Esuosa often slips in and out of his digital character, making it hard to distinguish between the actor and the role. While one might argue his character was intended to be sarcastic or darkly humorous, the tone of the story required a deeper, more serious performance—one that never quite arrived.

This inconsistency shifts the burden of salvaging the story onto supporting characters like Dave, his sister, and Doctor Darlington. Of the ensemble, Erika stands out as the antagonist. Her portrayal is grounded, believable, and perhaps the only performance that fully understands the assignment.

Striking Cinematography Let Down by Poor Sound Choices

One of the film’s standout elements is its cinematography. Many shots feel thoughtful and purposeful, adding texture to key scenes. Aerial shots during Dave and Theresa’s journey to Benin, and the haunting visuals of Theresa wandering through the forest bring visual elegance to the film.

However, this strength is undercut by mismatched sound design. The score consistently builds anticipation for drama that never materializes, misleading the audience and weakening emotional payoff. Worse still is the use of Sir Victor Uwaifo’s Joromi—a nostalgic highlife tune that feels completely out of place. Dave, who was never portrayed as an old-school enthusiast, inexplicably plays the song in a moment meant to create a connection with Theresa. It could’ve been a lighthearted, bonding scene—but the choice feels forced and unearned.

One scene that just felt right with the sound was Theresa finding out that her entire family was dead. The music, the performance and the cinematography came out beautifully.

The road trip to Benin raises questions about the film’s sense of location. While the story implies a journey to Benin, the primary setting remains in Ibadan.The house Dave and Theresa arrive at is located within the University of Ibadan. Though slightly aged and fitting the visual tone the story aims for, the location is easily recognizable to anyone familiar with the university.

Between Esuosa and Baba, there’s a noticeable lack of precision and depth in the portrayal of the ritual scene and other spiritual elements. Baba’s only convincing display of spiritual power is his sudden disappearance from Esuosa’s house. Beyond that, his costume and mannerisms feel overly modern, undermining the authenticity of his spiritual role.

Final Thoughts

At its core, Bendel Girl had the potential to offer something different in Nollywood’s growing catalogue of genre experimentation. But the execution highlights a broader concern: Are some content creators being cast more for their fame than their craft? The film raises a cautionary note for Nollywood—faces alone cannot carry a film. Vision, storytelling, and acting must align.

Appearances from Brutus Richard and Tobi Bakre are forgettable, made worse by poor synergy with the main cast. Even the portrayal of traditional elements feels stripped of cultural authenticity, as the modern “Babalawo” lacked any real traditional grounding.

Time travel remains a rich and untapped storytelling device. But until Nollywood filmmakers invest more deeply in script development, performance training, and story cohesion, we may keep getting beautiful ideas that lose their way.

Verdict

Bendel Girl sets off with a promising concept but derails long before its destination. A visually thoughtful film, let down by weak storytelling, poor character development, and underwhelming performances. It earns itself a 2 from us.

Rating: 2/5