Turning Point, directed by Adeoluwa Owu and written by Oyiza Kokori, was released quietly on Circuits and has flown under the radar for some time. Now that we’ve tuned in, here’s what we think of this ambitious but uneven project.

A Plot Built on High Stakes but Shaky Ground

Akintunde Barnabas, a successful businessman turned governor of Fountain State, has failed to deliver on his promises. His son, Iremide Barnabas, a rising tech entrepreneur returning from the U.S., is dismayed by the corruption in his father’s administration. When the opposition party recruits Iremide to run against his father, what begins as a battle of ideals spirals into a dangerous game of power, secrets, and betrayal.

The story introduces heavy stakes — from political godfather Alhaji Suara’s ruthless demands to the revelation of a childhood tragedy that reshapes Iremide’s life. With his sister’s support and his late mother’s memory guiding him, Iremide charges forward despite the odds. But as the streets grow tense and a rally turns violent on election eve, the future of both family and state teeters on a knife’s edge.

Storytelling That Lacks Cohesion

The film opens with Governor Akintunde’s election and the people’s swift disappointment, but the narrative doesn’t always flow smoothly. Dialogue often feels stilted, raising questions about its authenticity. The central premise is promising, yet the execution falters, with the story jumping around rather than unfolding organically.

The romance subplot between Iremide (Efa Iwara) and Zainab (Damilare Kuku) is rushed and unconvincing, moving from interview scenes to romance without any meaningful buildup. Similarly, Dora’s (Linda Osifo) scheme to manipulate Akintunde into disgracing his son feels unnecessary. The character of Akintunde, as written, is perfectly capable of making destructive choices without Dora’s influence. The attempt to soften him into a man “led astray” clashes with how he’s presented, leaving no real sense of a moral struggle.

Performances That Do Just Enough

Efa Iwara and Juliana Olayode may not visually pass as siblings, but their natural rhythm makes their relationship believable. Akin Lewis once again plays a role that feels familiar, one he has embodied in various forms before. The ensemble — Efa Iwara, Juliana Olayode, Linda Osifo, Tina Mba, and Gabriel Afolayan — delivers performances that are solid but rarely remarkable. Nothing here lingers once the credits roll.

Technical Choices That Fall Flat

Visually, the film lacks distinction. The color grading feels dull, giving the film a muted look that doesn’t elevate its themes. While the cinematography tells the story adequately, it doesn’t strive for innovation. Even the use of music, which could have sharpened the emotional beats, is mostly forgettable.

Final Thoughts

Turning Point often feels like things are happening without the necessary buildup, leaving viewers puzzled about how characters land in certain situations. The early kidnapping subplot is handled clumsily, with little clarity on how the family knew about it in the first place.

There are glimpses of more compelling drama — like Iremide urging his father not to run again, a rare angle in Nigerian cinema where political families push back against their own. But other moments, like Iremide falling into an obvious trap during the smear campaign or the flat announcement of his electoral victory, fail to carry emotional weight. Even the scenes meant to show public excitement lack the energy they desperately needed.

Verdict

Honestly, given Nigeria’s political climate, Iremide’s victory feels more fantasy than reality. Yet the film’s attempt to ground his win by showing the godfather’s hidden influence was a smart choice, adding a layer of authenticity. Unfortunately, even with rich themes and political resonance, Turning Point ends up being dull rather than thought-provoking, earning a rating of 2 stars out of 5.

Rating: 2/5