Idia is an Edo-language horror film that follows an orphan’s desperate search for family and uncovers something far darker. Directed with a focus on unease rather than jumps, it stars Gbugbemi Ejeye as the vulnerable yet resilient Idia, Linda Osifo as the unsettling Rose Osifo, Tope Tedela as her husband Efosa Osifo, and Temitope Aje in a brief but memorable turn as Sister Dorcas.
The story draws on the concept of “Ehimwem”, restless spirits who linger because their life’s purpose remains unfulfilled. What begins as a tale of adoption quickly spirals into eerie discomfort, gore, and lingering questions. The film excels in atmosphere and performances but falters in clarity, leaving viewers intrigued yet frustrated by its unresolved mysteries.
Idia
Directed by: Ese Ariremu, Jide Jblaze Oyegbile
Written by: Ese Ariremu, Jasper Aziegbemhin
Genre: Horror
Released on: October 24, 2025 (Cinemas)
Language: Edo, English
A Tone of Unease from the First Frame
The film opens with rapid, shocking losses that strip Idia of her world. These early scenes aim for emotional pull but move too quickly to allow genuine grief to settle. Instead, they deliver raw shock value, establishing a foundation of horror through eeriness, creepiness, and subtle dread rather than traditional scares.
Lightning flashes illuminate tense moments, thunder provides ominous punctuation, music pulling at nostalgia, and careful framing hints at future unease, such as lingering shots on picture frames or mirrors that later tie into the story’s discomfort. The dark palette dominates, with occasional colour pops that never disrupt the moody tone. Production quality supports this effectively, though viewing in a subpar cinema (like one with a dim projector) can obscure details and diminish the visual impact.
Plot: A Search for Family Turns Sinister
Idia has endured profound loss: her mother, then her father (revealed later to have been poisoned), leaving her an orphan. Soon, she looses what she didn’t consider a family as well. The Catholic church becomes her refuge from childhood into adulthood. The main story begins during her prayers, not just for a child, but for the family she has never known.
Sister Dorcas interrupts with ironic reassurance: “You are blessed and highly favoured.” A couple, Rose and Efosa Osifo, wishes to adopt her, even as an adult. Idia questions the unusual offer, but Dorcas insists. She meets the Osifos, who promise the “perfect family.” What Idia does not realise is that this family comes with hidden motives tied to the Ehimwem, spirits who roam unfulfilled, and Idia is the key to completing theirs by providing a child.
A lavish party scene at the Osifos’ home heightens the weirdness. Guests stare at Idia with unsettling intensity, coveting something she does not yet understand. This sequence echoes Jordan Peele’s Get Out, building discomfort through social awkwardness rather than gore. One guest asks, “What will happen to us when you get what you want?”, a line that lingers as the true nature of the gathering emerges: are all attendees are ehimwem?
The narrative thrives on horror beats executed with restraint. Gore appears moderately, toned down to avoid overwhelming sensitivity while remaining effective. The focus stays on psychological tension, making it accessible for audiences who prefer atmosphere over graphic violence.
Performances That Elevate the Creeps
Linda Osifo owns the role of Rose. Every line, glance, and step feels deliberate, contributing to the film’s pervasive eeriness. The shared surname with her character raises curiosity but does not detract from her calculated menace. Tope Tedela matches her as Efosa, layering quiet intensity that amplifies the couple’s unsettling dynamic. Their performances transform ordinary domestic scenes into sources of dread.
Gbugbemi Ejeye shines as Idia. Following her lead in Farmer’s Bride, she fully displays her range, vulnerable in isolation, determined in confrontation. Nothing flashy stands out, but her consistent emotional authenticity anchors the film. The young actress portraying child Idia also delivers a strong performance, deserving recognition (though credits rolled too quickly in some screenings to note her name).
Temitope Aje makes limited screen time as Sister Dorcas. Her repeated “You are highly favoured” echoes hauntingly, hinting at deception from the start and serving the story’s subversive tone.
Technical Craft and Atmospheric Execution
Production elements align well with the horror genre. Lighting, sound, and framing create subtle foreshadowing, mirrors and photos that seem innocuous at first gain sinister weight. The restrained gore ensures effectiveness without excess, suiting viewers wary of intense visuals.
The Edo mythology underpinning the Ehimwem adds cultural depth, though ties to figures like Queen Idia or related statues remain unexplored on screen. Idia’s childhood doll, a gift from her father, appears potentially symbolic (protection? spiritual link?) but serves no clear purpose, adding to the film’s enigmatic quality.
Final Thoughts
Idia is a horror film built on unanswered questions, which works both for and against it. Revelations about Idia’s father (poisoned prematurely) raise inconsistencies: if unfulfilled death creates Ehimwem, why is he not one? A character’s multiple “deaths” further muddles the rules. Encounters with the Osifos blur lines, was it trance, dream, or reality? These ambiguities intrigue and invite rewatches, but for a single cinema viewing, they can distract and frustrate.
The film provides hints at its world-building but stumbles in connecting them cohesively. Clearer foundations for the ehimwem lore and resolved threads (like the doll) could have made it exceptional. As is, it delivers solid creepiness, strong acting, and cultural flavour, proving Edo stories can thrive in horror, while leaving viewers pondering more than satisfied.
Verdict
Idia suits horror fans who enjoy psychological unease and cultural twists over straightforward jump scares. It rewards patient viewers open to ambiguity and a second watch. Atmospheric and well-performed, it hints at greater potential in Nollywood’s horror genre filmmaking.
Rating: 3.05/5
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