Finally! After two years of anticipation, Kofa (The Door) finally hit the screens. The thing is, there are two sides to its narrative.

Back in 2022, the film garnered significant acclaim at the Africa International Film Festival (AFRIFF), winning awards, including Best Film, Best Screenplay, and Best Actor for Daniel Etim Effiong’s performance.

For those eagerly awaiting its release, it’s available on Prime Video.

Story

As it reads on Prime:

“Eight people suddenly awaken in a decrepit room stripped down to their underwear. Besides their names, they have no memories of who they are, where they are, and why they are there. Confusion and mutual suspicion escalate their predicament. When an armed man starts taking them out, one after the other, they struggle to remember, believing that their memories hold the pathway to their escape.”

From this, we know what to expect: suspense. The story of Kofa is unique, diverging from the typical narratives often seen in Nollywood. The film later adopts a dual-narrative approach which is certainly ambitious and piques interest. The real challenge lies in how effectively the film merges these two distinct storylines.

Plot

The plot of Kofa is essentially divided into two parts, with the storylines feeling somewhat separate after a significant plot twist. The first half introduces us to an intriguing and original plotline. It progresses smoothly and coherently, allowing the audience to understand and follow the narrative.

However, the second half shifts focus to the topical issues of the Chibok girls’ abduction and Boko Haram terrorism. After the twist, the second half becomes disjointed and confusing. It comes off as abrupt and feels like the viewer is taken from one film and plunged into another.

Despite the potential of the plot twist, the transition between the two halves is neither smooth nor seamless; it is jarring, abrupt, and confusing, making it difficult for the viewer to stay engaged.

Technical Aspects

It’s always good to make a strong first impression, and Kofa achieves this with a captivating intro sequence that fits its genre. The drone shots of what appears to be a secret service operation searching for the kidnapped individuals are awe-inspiring, effectively setting the tone. Initially, these secret service operators are integral to the plot, suggesting a search scenario. However, their dialogue comes off as annoying.

The sound design is noteworthy. At first, it subtly blends into the background, but on closer inspection, it becomes evident that the sound choices foreshadow the second half of the film. The camera movement is commendable, often visually illustrating heightened tension and signaling shifts in the plot or storylines. The cinematography overall deserves praise for its “raw” and “real” visual aesthetic, aiming to present an unfiltered and authentic feel to the film.

However, there are minor details that disrupt this authenticity. For instance, the women are depicted wearing matching underwear, which feels unrealistic given the unplanned nature of their situations. This detail suggests a deliberate costuming decision rather than a natural portrayal, detracting from the film’s intended realism.

Performances

The most memorable performance comes from Daniel Etim Effiong, who portrays a thoroughly unlikeable character with such skill that even his ability to annoy viewers is commendable. His character’s shift is both interesting and believable, adding depth to his role.

Ijeoma Grace Agu and Gina Castel also deliver notable performances, particularly for their boldness on screen. Zainab Balogun stands out with a convincing portrayal of her character, notably justified by her English accent.

Enyinna Nwigwe’s character is marred by inauthentic stammering, though his overall performance, alongside Charles Etubiebi, Gina Castel, and Beverly Naya, is commendable. Beverly Naya starts strong but falters in one scene where her delivery sounds rehearsed and unreactive, breaking the authenticity.

Additionally, Shawn Faqua makes a brief but impactful appearance, and Genevieve Nnaji delivers her usual excellent performance.

Final Thoughts

The 2022 Africa Independent Film Festival’s Best Feature award went to Kofa (The Door), a film that, despite its accolades, leaves one scratching their heads right now. What did this film a significant disservice was the muddled narrative, which ultimately resulted in an aimless direction. The story seemed to lack a clear purpose beyond addressing topical issues.

The narrative, which intertwines the Boko Haram terrorism in Nigeria and the Chibok girls’ abduction, seemingly rides on the coattails of these significant events rather than delivering a cohesive story. Talk less of the original story on ‘the mind being a door’ that the film initially appeared to focus on.

One could argue that the film’s topical relevance to Boko Haram’s atrocities and the plight of the Chibok girls played a significant role in its award win. The gravity of these issues is undeniable, but a film’s merit should lie in its storytelling prowess and authenticity.

In this regard, Kofa falls short, offering a disjointed narrative that fails to meet the standards expected of the best feature.

Verdict

The film is undeniably suspenseful and starts with a good premise and a unique storyline. However, the incorporation of two promising narratives, while ambitious, ultimately detracted from the coherence of the storyline. The plot and story, despite having a strong plot twist, faltered as the film progressed.

On the other hand, the performances were commendable, with standout roles adding depth to the characters. Yet, the English spoken by the characters did not feel relatable to the average Nigerian, particularly given the dire circumstances the kidnapped characters were in.

While the intention behind Kofa is not bad, the execution leaves much to be desired. Its success at the festival likely reflects the weight of its subject matter rather than the quality of its cinematic delivery.

We give it a 2.5 out of 5

Rating: 2.5/5