With the slow and rough start, the film dramatic premise kick off with Magnus Williams (portrayed by Wale Ojo), a migrant politician and philanthropist, shockingly ends his life in a gruesome suicide in England. In the wake of his death, his dysfunctional family members begin to develop mysterious, festering scars, prompting them to question the true nature of his demise. Suspecting that dark forces from Williams’ village in Nigeria are at play, they seek the help of Ashionye (portrayed by Vanessa Vanderpuye), a reluctant and struggling exorcist who once served as their domestic help.
“A Song from the Dark” has an engaging story centered on a troubled family with a dark secret, focusing on the consequences of the father’s actions. The film addresses social issues, particularly the treatment of illegal migrant domestic workers. Instead of using typical Catholic symbols found in exorcism movies, it features Nigerian mysticism. However, despite its interesting elements, the film’s lack of creative storytelling is so obvious. The major bane to the interesting concept explored by the creator.
The story revolves around, Isioma Williams’s family. Nse Ikpe Etim, the ex wife of Wale Ojo hires a reluctant spirit hunter named Ashionye to expel an evil spirit tormenting her family following the mysterious death of her husband, Wale Ojo. Ashionye, brought from Nigeria when she was young, is unaware of a dark family secret that the Williams’ family is determined to keep hidden at all costs. While the film aims to deliver a blend of psychological horror and supernatural elements, it struggles with rhythm and momentum, resulting in an episodic and disjointed narrative that detracts from the otherwise fascinating story it seeks to explore.
One of the film’s significant shortcomings is its failure to develop empathetic characters, particularly the protagonist, Ashionye. The backstory involving Ashionye’s father sacrificing himself for his family and tribe is not thoroughly established, raising unanswered questions about the necessity and context of his sacrifice. The narrative lacks the depth and context needed to make Ashionye’s character and her journey convincing. The film’s inability to provide a coherent story structure and plot, unlike successful counterparts such as Jay Franklin’s “Madam Koi Koi,” results in a less compelling viewing experience.
The film hints at a clash between logic and belief in the supernatural, a common theme in horror films. However, this is presented superficially without any substantial philosophical exploration, making it seem like an obligatory inclusion rather than a thoughtfully integrated element. The voiceover narration is another unconvincing creative choice, adding to the film’s aimlessness and repetitiveness. Despite claims of exploring Nigerian mysticism, the authenticity of its representation is questionable, leaving viewers wondering about the depth of cultural insights.
Despite the strange mirror scars that suddenly appear on the characters’ arms, there is no sense of urgency or tension in the story. The characters show no evident anxiety or eagerness to get rid of the scars quickly, often conversing with lavish smiles. This leaves viewers questioning whether the problem is serious at all.
Also, setting the story hook in a remote house felt too convenient, without intentionality. A hut would have been preferable, as the story demanded such. Although the plot twist wasn’t particularly surprising, it was seamlessly woven into the narrative and fit well within the story’s framework. Each element of the story played a role in the larger narrative, with nothing feeling out of place. However, like many recent Nollywood horror films, this one ultimately fails to deliver genuine scares.
Visually, the film has its moments, with decent special effects and cinematography that contribute to a visually stunning spectacle. However, the CGI is inconsistent, with some effects appearing mediocre. The film’s lighting and color grading are skillfully executed, avoiding major technical flaws. The overall aesthetic is appropriate for the genre. While the visual effects are mostly convincing, they sometimes feel excessive, with certain scenes resembling clips from a sci-fi movie.
The performances by the cast, including Nse Ikpe Etim and Wale Ojo, are neither overly impressive nor poor, but they lack the compelling nature needed to elevate the film. Although, Wale Ojo’s portrayal of Magnus, particularly in the scene where he takes his own life, is impactful. Another standout is the scene where Anioji possesses Sammy, with strong acting that grounds this key moment. Peace Oseyenum leaves a lasting impression as Anioji, while Vanessa Vanderpuye shines as Ashionye, in some key moments at the last sequence. Brielle Olaleye, the young actress playing Ashionye, also delivers a memorable performance in her brief appearance.
“A Song from the Dark” is not entirely devoid of merit. The final sequence, where the family secret is revealed, stands out as the film’s most engaging part. Despite its flaws, the film manages to hold interest to some extent but ultimately falls short of its potential. Fans of supernatural and possession-themed films might find the concept intriguing, but the weak narrative and lack of compelling storytelling could lead to disappointment for those seeking a genuinely chilling and thrilling experience.
While the film attempts to bridge traditional African storytelling with modern horror cinema, it misses the mark in delivering a satisfying horror experience. For those planning to watch it, the film might be worth viewing for its concept and atmospheric elements rather than for its execution of the horror genre.
Kolapo Mustapha is a Writer, Director, Story Developer and Film Analyst. An Alumni and Best Directing Student of EbonyLife Creative Academy. He pioneer a unique African narrative/storytelling “SILENT FILM’ which prioritizes the use of visual storytelling techniques to explore the complexities of African traditions, beliefs and experiences and also evokes emotions, rather than relying solely on exposition or dialogue to explain or describe things. And his films has received official selections and screened at film festivals, across Nigeria and beyond Africa.
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