To Adaego with Love, directed by Nwamaka Chikezie and written by Brenda Ogbukaa-Garuba, is a 129-minute romantic drama set in early 1970s Enugu, roughly five years after the Nigerian Civil War. Chisom Agoawuike stars as Adaego Ezekwe, an Igbo school teacher, opposite Adam Garba as Major Balarabe “Bala” Alkali, a Northern Nigerian soldier deployed to rebuild trust between the local Igbo population and the federal government.
Bob-Manuel Udokwu plays Adaego’s father, Chief Ezekwe, with Ngozi Ezeonu as her aunt, Onyeka Onwenu as her grandmother (one of her final roles), and Chioma Chukwuka Akpotha as her mother. The film earned Best Feature Film and Best Screenplay at AFRIFF 2025. It is a measured, reflective work that prioritises quiet rebuilding over dramatic spectacle, offering a thoughtful exploration of love, reconciliation, and resilience in a society still scarred by conflict.
To Adaego with Love
Directed by: Nwamaka Chikezie
Written by: Brenda Ogbukaa-Garuba
Genre: Romance, Drama
Released on: February 6, 2026 (Cinemas)
Language: English
A Romance Shaped by the Silence After War
To Adaego with Love centres on Adaego and Bala, whose relationship unfolds against the lingering tensions of post-war Nigeria. Bala’s assignment is to restore trust between civilians and the military, a task made delicate by the war’s recent memory. Adaego, having lost family in the conflict, initially appears emotionally insulated from its aftermath. She confronts its weight through her grandmother’s stories of loss and her father’s palpable resentment.
The romance is subdued and slow-burning, built on shared routines, small acts of kindness, and collaborative work in the village rather than grand gestures. It is tender yet fraught, shaped by historical and cultural divisions that still simmer.
The film deliberately avoids battle sequences or sensational violence. Instead, it focuses on the quieter struggles of rebuilding lives and communities. Reconciliation is presented as slow, imperfect work, not a tidy resolution. The narrative is understated, inviting reflection on the silence after gunfire and the uneasy coexistence between those who survived on opposite sides.
Themes of Reconciliation and the Weight of Memory
The film grapples with the aftermath of war rather than the conflict itself. It explores how trauma lingers in ambient resentment, how trust is rebuilt in small acts, and how love can emerge across divides that once seemed unbridgeable. Adaego’s father embodies justified bitterness, while Bala represents the federal effort to mend what was broken. The story acknowledges anger and loss but sometimes softens institutional culpability, presenting soldiers as broadly benevolent.
This creates a tension between historical realism and narrative focus: reconciliation feels aspirational yet underdeveloped, with some perspectives sidelined in favour of the central romance. The film’s restraint is intentional. Emotional peaks are muted. Pacing is unhurried. Conflicts are understated. It prioritises observation over excitement, asking viewers to sit with the slow work of healing rather than rush toward catharsis.
Performances That Ground the Quiet Moments
Chisom Agoawuike radiates hope and resilience as Adaego, particularly in classroom scenes where her dedication to education underscores the theme of societal healing. Adam Garba’s Bala is stoic yet subtly vulnerable; his reserved demeanor softens in genuine connection moments. Bob-Manuel Udokwu imbues Chief Ezekwe with pride, sorrow, and skepticism, serving as the moral and historical anchor. Ngozi Ezeonu adds levity and wisdom as Adaego’s aunt.
Onyeka Onwenu delivers a soulful, affecting presence, especially in musical interludes. Chioma Chukwuka Akpotha conveys maternal depth, though underutilised. Minor characters, such as a resentful villager, underscore ethnic tensions but sometimes feel exaggerated compared to the film’s restrained tone.
Technical Craft That Serves Restraint
Cinematography favours naturalistic lighting, wide establishing shots, and tight close-ups for dialogue and intimacy. Handheld camera work adds immediacy to communal and personal scenes. Editing maintains narrative clarity, though flashback transitions occasionally confuse temporal flow. Production and costume design convey post-war austerity through modest wardrobe choices, ankara fabrics, and minimal yet effective set dressing.
Music is a central motif. Traditional Igbo instruments (ogene, udu) blend with soft guitar and highlife influences. Era songs, including Nelly Uchendu’s “Love Nwantinti”, serve as storytelling devices and emotional touchstones. The sound mix is occasionally inconsistent, with dialogue sometimes overpowered by music. The overall technical approach mirrors the film’s philosophy: restraint over excess, reflection over urgency.
Final Thoughts
To Adaego with Love is a contemplative work that places human connection and reconciliation at its core. It consciously steps away from spectacle to focus on the slow, imperfect work of rebuilding after war. The romance grows from shared responsibility and communal healing rather than dramatic passion.
The film’s restraint aligns with its vision: it invites reflection rather than excitement. Some may find the pacing slow or the reconciliation arc underdeveloped. Others will appreciate its sincerity and cultural grounding. It is not a high-energy drama. It is a measured one. Its ambition is quiet, its heart earnest, and its message clear: healing takes time, trust must be earned, and love can bridge divides that history once widened.
Verdict
To Adaego with Love suits viewers who appreciate thoughtful, restrained storytelling and post-war themes. It offers authenticity, cultural depth, and emotional resonance for those open to contemplative cinema. Sincere and grounded, it is a meaningful addition to Nigerian film with a gentle power that lingers.
Rating: 3/5
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