Produced by Folakemi Bello and Adeoluwa Owu (Captain Degzy), The Benefactor sets out to tell a moving and emotionally charged story. Yet, along the way, the film occasionally drifts from its intended focus. The feature began its nationwide screening on August 8, 2025, and has earned a nomination at the 9th Toronto International Nollywood Film Festival (TINFF).

The Past Comes Knocking In A Treacherous Way

The narrative follows the life of a rising music artist whose guardian angel gradually reveals himself to be a predator. Tuntunlade, played by Bimbo Ademoye, is beginning to settle into the good life she has worked hard to create. However, this progress is abruptly cut short when her benefactor, portrayed by Akin Lewis, demands sexual favours in exchange for his support.

After she firmly refuses, Oloye Olowokere forces himself on her. This traumatic incident reopens the scars of a similar experience from fifteen years earlier, which had first driven Tuntunlade into Oloye’s household for refuge. As the story unfolds, Oloye’s true nature comes to light, along with the many other cruel acts he has committed.

It is clear that deliberate effort was made to preserve details connecting the past and present. It doesn’t do this with the regular choice of an actor having a flashback but rather intertwines the shots in and out of the past and present. In a way that it feels like a continual story, that sits side by side. The story also unfolds at a brisk pace, avoiding unnecessarily prolonged dialogues.

Leaves With A Staggering Ending

The feature does give us a great premise to look forward to. Tuntunlade,, who is an orphan finds joy as she excels greatly with care from her late mother’s sister and husband. The couple also have a son, and they all live like a happy family. However, a normal afternoon alone with the son turns into sexual assault. Soon, the couple who had just financial issues to worry about had to decide on how to handle such a horrible situation.

The husband, who goes by Pastor Wole, tried his best to make things better, but it wasn’t enough for the young girl’s sanity. Soon she runs off to the home of a seemingly kind and generous Oloye. Soon, she is able to continue are education and even pursue a music career. 15 years after the initial ordeal had happened and when it seemed like love had found her, Oloye insisted she must sleep with him as a form of thank you.

Little did she know that her benefactor was in fact a drug and sex trafficker who was on the run abroad. Although her fiancé (Kunle Remi) had picked up a weird energy from the man, just as her uncle had many years ago. It was, however, too late, as he kidnapped, drugged, molested and tortured her. But he didn’t stop there as he intended to continue to treat her like the others. With the help of her fiancé, manager and lawyer, Tuntunlade presses charges against Oloye. Before the trial could really pick up its pace, Oloye was shot in the head by another dead victim’s sister. In the end, this ordeal leads Tuntunlade back to her uncle and aunt for reconciliation.

The story slowly takes a nose-dive towards the tail end. As if it started a journey but couldn’t decide on the right destination to stop at. Yes, Tuntunlade starts the process of attaining justice, but it’s cut short even before it takes flight. With another victim’s sister of Oloye shooting him in the head.

The ending feels ruined because Tuntunlade endures such a gruesome fate, with her past exposed publicly, only to be denied justice in the same space where she was shamed. Death never puts Oloye in the spot of true reparation and questions the entire point of the pain she went through.

Distinct Shift in Performance Quality Over Time

Some of the most compelling moments in the film come from the past setting. The flashback scenes reveal a strong synergy among the actors, particularly between Pastor Wole (Manuel Bimbo) and Young Tuntunlade (Toluwani George). Together, they convincingly portrayed a father–daughter bond that felt authentic, even after it was later revealed that he was, in fact, her uncle.

Their excellent performances, marked by precise line delivery, expressive body language, and consistent emotional connection, made the relationship believable. A striking example is the scene where Pastor Wole returns home to confirm his suspicions. Tuntunlade’s silent yet powerful body language in that moment speaks volumes, making the exchange deeply impactful.

King David (Tobi Makinde) and Aunty (Joke Muyiwa) also gave excellent performances that also aided Young Tutunlade and Pastor Wole’s performance. But when we take a dive into the present time, there seems to be a good start from Ademoye and Kunle Remi, but as the story progresses there is a visible drop.

Tutunlade’s kidnap scene falls flat due to Ademoye’s lack of emotional depth. For a character facing abuse and betrayal by someone she trusted, her reaction felt bland and detached, almost as if she was indifferent. A stronger display of fear, shock, and rage, first through her actions and then in her words, would have made the moment far more compelling.

This significant down slope towards the tail end of the movie takes away the impact the resolution was meant to deliver.

Unique Settings That Give More Life to The Story

One of the standout moments for the technical aspect would be the location and prop choices. Pastor Wole’s house moments had every little detail needed to sell it as a home from the 90s. The chairs, the wall painting, the dinner set, amongst others. The church also leaves a lasting memory as it cements religious experiences that lot may share. However, a drawback is that Pastor Wole, in particular, showed little to no physical transformation despite the 15-year time gap. Which meant that little to no detail was placed on his costume and appearance as the story progressed.

At the very beginning of the movie, Tuntunlade delivers a terrific performance. One reason it stands out is the precise and excellent lip-syncing. And this juggles between good edits, sound and then the actress. This coalition makes it more than just another music performance in a Nollywood movie, but an enjoyable one to watch.

Cinematography also shines in The Benefactor. Especially with the angled shot the kidnapping scene enjoyed, the light placement that gave off the shadowing effect and then Oloye’s majestic entry. Then there are the beautiful edits of both timelines that don’t seem too contrasting to the eyes.

Final Thoughts

It’s very arguable whether or not Tuntunlade actually just justice, with the way it ended. It would have been best to allow Tuntunlade to win in court and then leave Oloye to bear a brutal ending. However, maybe this is just a reflection of our society and how justice never really prevails.

Back on the scene Oloye was shot dead. Why did she agree to testify to the scene before, with so much trembling and pain? And then go to this mute, fierce persona. No triggers, no explanation on both their ends, just a shot to the head. No one ever wants justice without doing a long and detailed explanation of why they are about to kill them.

Toluwani George, who plays Young Tuntulade, is definitely a face to look out for in the Nigerian film industry. With her poise and distinct tone of delivery.

The music scores were honestly great. Original songs that actually were lovely and interesting to listen to. Usually, original songs in Nollywood always come off cringeworthy and unsettling.

Verdict

The Benefactor does give us a much-needed story, but fails in the most important ways to sustain its life. It earns itself a rating of 2.75.

Rating: 2.75/5