By Kikelomo ONIGBANJO
Aderonke is the family’s financial backbone. She is the giver, the fixer, the ever-available benefactor. She pours into everyone, even when they repeatedly prove themselves selfish and opportunistic. In a bold move, she fakes her own death and retreats into the shadows to observe what her absence will show. What unfolds is both heartbreaking and revealing: family members circling her wealth like vultures, her children being sidelined, and, ironically, strangers displaying more loyalty and humanity than blood relatives.
This is a deeply relatable family story; one that mirrors situations many people have either lived through or witnessed.
Adetutu is manipulation personified. From the moment she begins her performance of crocodile tears at the second scene, it’s clear she’s operating with intent. She isn’t just selfish, she’s dead inside. The kind of character that makes your skin crawl because she feels too real. Every family has one of those.
Aderonke, on the other hand, is frustrating. Painfully frustrating. Her generosity crosses into stupidity. I wanted to smack the upside of her head. She is the textbook doormat; emotionally blackmailed by adults who weaponize children and tears to get what they want. What makes it worse is her stubbornness. She refuses to listen to counsel, making decisions that continue to hurt her. It’s hard to sympathize with her at times because she enables the very behavior that destroys her peace.
Adewale stands out as a subversion of the trope. Introduced with the aura of a ‘thug’ who doesn’t give his elder sister any peace, he turns out to be the most grounded and principled character. His calm intensity, what you aptly call ‘calm madness’ is magnetic. He doesn’t over perform morality; he simply embodies it. Easily the best character in the film.
Adetutu and her children form a chaotic cluster of entitlement, a true conglomerate of bad behavior. Their presence is loud, disruptive, and intentional, representing unchecked greed within family structures. Those Big Brother babes are just a bloody nuisance!
The film thrives on layered storytelling. Everyone has a backstory, which adds depth and avoids turning characters into one-dimensional villains. It reinforces the idea that dysfunction is often inherited, learned, and normalized.
One of the strongest themes is the illusion of family loyalty. The film boldly suggests that blood ties do not guarantee love, respect, or protection. In fact, strangers, like the cook and housekeeper often display more sincerity and loyalty than relatives.
That said, the outrage over the cook and housekeeper having a wedding without informing Aderonke feels misplaced. In the grand scheme of betrayal, it’s almost inconsequential compared to the emotional and financial exploitation she suffers from her own family.
The line by Adewale “Awon omo Aderonke ninu keke!” is a standout moment—sharp, memorable, and laced with humor that cuts through the tension.
The child actors are exceptional. They bring authenticity and emotional weight that elevate the film. Their performances make the neglect and displacement they experience by their aunt and uncle’s wife even more painful to watch.
The dynamic between Aderonke and Oluchi is one of the film’s softest, most human elements. Their scenes are tender, offering brief emotional relief from the chaos.
The film definitely has its own issues.
Victor’s death feels unnecessary, more like shock value than a meaningful plot device. For a beloved character, his exit did nothing to elevate the plot except Aderonke mentioning it at the climax. The climax itself was underwhelming. I expected her to come in guns blazing, ready to step on everybody’s neck. But it was just tears and emotions.
The twins add little to the story. Their presence feels more like filler; noise without substance.
Then there’s the product placement. Knorr, Colgate, Lush Hair. It’s excessive and distracting. Instead of blending naturally into the story, it pulls you out of the experience, reminding you that you’re watching a TV commercial. Again, those Big Brother babes are a nuisance!
This film is a brutal mirror. It forces you to confront uncomfortable truths about family, generosity, and boundaries. It asks a difficult question: At what point does kindness become self-destruction?
Adetutu represents a familiar evil. Aderonke represents a familiar mistake.
And if you can’t identify someone like Adetutu in your family… then the film quietly suggests you might need to look inward.
Rating: 6/10 (6 stars)
