AFAMEFUNA: Tales of ‘nwa boi’

By Amadi Chimaobi Kingsley

Afamefuna-A NWA BOI story was from six people (five Yoruba and one Igbo) written by the delectable Igbo lady, Anyanwu Sandra Adaora and directed by a Yoruba popularly called the blockbuster genius, Kayode Kasum.
This Story beautifully explains the Igbo culture and the master/apprenticeship system and makes us realize that the igbo culture is well loved and understood even by non-Igbos. Afamefuna is reputed to be the first feature film on the Igbo apprenticeship system and how billionaires are made in the cycle of wealth creation.
The movie got four major nominations from Africamagic #AMVCA 10 for best writing in a movie by A.S. Adaora, Best lead Actor by Stan Nze, Best supporting actor by Alex Ekubo and Best Director by Kayode Kasum.
In Kayode Kasum’s second offering of the year, Afamefuna, we are presented with a cinematic experience that not only deserves acclaim but could even invoke the divine approval of a Biblical reference of Cain and Abel. Instead of blood ties, we have the dynamics of the “nwa bois” – apprentices to wealthy Igbo businessmen, under the Igbo Apprenticeship System. As the narrative unfolds, we witness the complexities of sacrifice, betrayal, and the camaraderie that binds these guys together.
Opening line of “Afamefuna” sets the stage for a narrative with promise, but the execution is, unfortunately, uneven. You’re excited about a story of the Igbo apprenticeship system, so you learn something from how multi-millionaires have been made from that system.
Notwithstanding, let’s delve into the film’s strengths and weaknesses.
Lost in transition: The jump from a faux football field to an event, then abruptly to a party as the first scenes, is jarring. While the reason for this might be revealed later, this disjointed editing leaves the viewer almost disoriented.
Technical glitches: The slow-motion effects and scene transitions look clumsy. According to Filmmaker Tools, with slow motion, directors can create an effect that is both visually striking and dramatically potent. On a purely aesthetic level, slow motion can add a sense of grace and beauty to a scene. But we’re instead seeing Afamefuna and his mom walking through a park in slow motion, to what effect?
Also, the mid-narrative switch in the narrator is jarring. However, the camera work shows promise. We can’t overlook some Lessons learned which are: The film emphasizes the importance of fostering peaceful relationships – with family, neighbors, and friends. Also, highlights the consequences of blackmail…you can’t survive as the case of Paulo….he paid with his life; add value everywhere you go and also be diligent as the case of Afam who went to the port and eventually was able to get his Oga’s container cleared at a cheaper rate; things might not always go as planned as the case of Paulo who taught Afam everything and yet Afam was settled before him. This made Paulo envious, and he lost his way; do not steal from your employer as the case of Obum and his ‘apriko’ ways; there is dignity in labor; and finally, if you see a lady, you like…approach her even if she already has somebody…still shoot your shot as it was the case of Afam and Amaka.
Another flaw was: Segun Arinze’s code-switching (mixing English, Hausa, and Igbo) raises questions. The purpose isn’t entirely clear, and the effect feels forced. But we can say he must have travelled widely as a Police officer, so maybe.
Afamefuna’s sudden shift to sober moods while narrating feels artificial. Similarly, Nneka’s (Amaka’s cousin) lack of emotional expression weakens her character. You can even wonder why she was in the story at all. It’s how characters just appear like important spices, then disappear like dissolved salt.
The emotional disconnect seems to be a common thread – the characters struggle to convey genuine emotions. Thankfully, veterans like Kanayo O. Kanayo and Segun Arinze deliver strong performances, reminding us of their acting prowess.
Scenes like the woman not checking the wallpaper she was eventually given strained credulity. I mean, there was a fight about the color before that. Oversight?
Furthermore, the writer could have capitalized on corrupt nature of customs officials, a story that deserves telling. Not all stories are created equal, and filmmakers have a responsibility to present narratives with honesty and purpose, but that plot was killed with two-million-naira settlement as against the 10million they were told to bring initially…. where is the lesson in that?
Likewise, the lengthy scene with Afamefuna and Paul strolling through the plaza and the boys’ pointless argument about football stars later feels like an unnecessary filler. The fact that Amaka doesn’t recognize Lotanna as Paul’s son is quite interesting and raises questions about paternity fraud and the role of both genders. Thankfully, Afamefuna’s forgiving nature salvages the scene.
All in all, the Intriguing detail is the presence of a non-Igbo crew behind the scenes which added a layer of unexpected diversity.
“Afamefuna” has its moments, but a lack of narrative cohesion, underdeveloped characters, and questionable story choices hold it back. With tighter editing, stronger emotional connection, and a more nuanced portrayal of the Igbo experience, this film could have been a compelling watch.