"The Origin: Madam Koi-Koi": A Promising Tale Veiled by Narrative Missteps and Unfulfilled Horrors
Madam Koi-Koi seeks not just to haunt viewers with ghostly apparitions but to unravel a tapestry of societal issues that mirror the sad realities of life.
Directed by: Jay Franklyn Jituboh
Screenplay by: Jay Franklyn Jituboh and Boladale Falola
Starring: Martha Ehinome, Nene Nwayo Aliemeke, Jude Chukwuka, Iretiola Doyle, Chuks Joseph, Chioma Chukwuka, Bolaji Ogunmola, Omowunmi Dada, Deyemi Okanlawon, Baaj Adebule, Iremide Adeoye, and many more
Step into the nostalgic embrace of 1990s Nigerian boarding schools, where the breeze carries both the laughter of students and the lingering tales of an unseen visitor. "The Origin: Madam Koi-Koi" strives to waltz through this era, weaving through the shared memories of every Nigerian who once called a hostel home.
In the eerie halls of "The Origin: Madam Koi-Koi," a vengeful spirit weaves a tale of terror within the confines of an isolated college. Here, the film seeks not just to haunt viewers with ghostly apparitions but to unravel a tapestry of societal issues that mirror the sad realities of the Nigerian educational system and life in general. But the promise of a spine-chilling narrative, however, quickly succumbs to the weight of its own ambitions.
Synopsis: A vengeful spirit stalks an isolated college, drawn by the school's grim history of sexual violence and one student's mysterious ties to the past.
In the midst of this ambitious endeavor, one positive aspect shines through in "The Origin: Madam Koi-Koi"βthe film's daring attempt to weave something unique from a tale thatβs almost as old as time. I appreciated the lore it built for itself, daring to present something new with the titular character without being tethered to an immutable origin story. The premise for βThe Origin: Madam Koi-Koiβ is bold and promising, suggesting an unforgettable viewing experience for the audience. However, this expectation doesn't fully materialize. Nevertheless, it's intriguing that the film managed to hold viewersβ attention for varying lengths of time.
The visual aesthetics of this movie are commendable. The cinematography is praiseworthy, and the outdoor scenes bring a refreshing quality to the viewing experience. The lighting of the outdoor scenes could have benefitted from a little more work, but it works for the most part. One particular shot stands out: the scene where we watch Amanda dream about Madam Koi-Koi for the first time. The 180-degree turn the camera takes was an interesting and captivating choice, prompting me to rewind that scene multiple times to better appreciate the artistry.
Another noteworthy aspect of βMadam Koi-Koiβ is the inclusion of relatively unknown actors in the project. The fresh faces in the cast largely deliver commendable performances, infusing a fresh burst of energy that momentarily diverts attention from the story's weak points. Despite the challenges posed by the not-so-great dialogue, some of the actors manage to stand out. Chuks Joseph, embodying the character Lashe, brings impressive energy that echoes the shared memories of anyone who had to deal with a bully during their high school days. Ireti Doyle, portraying the self-centered Mother Superior, captures attention with her monstrous portrayal. Sadly, for both of these characters, their storylines, especially Lashe's, wrap up abruptly, leaving viewers yearning for a gruesome end to their long list of evil acts.
Even with a promising start, "Madam Koi-Koi" succumbs to the pitfalls of inexperienced writing. The dialogue unfolds in unrealistic torrents, filled with unnecessary explanations that make it hard to follow. Characters, who could be interesting, end up feeling uninspiring, diluting the power of the overall story.
The portrayal of Nigerian boarding school life in the film has more misses than hits. While I appreciated the inclusion of a scene that showcased the dynamics of power hierarchy between junior and senior students, it's not enough to counter all the many other scenarios that are inaccurately portrayed. The film, at one point, makes the boarding school in the remote village of Malomo stop feeling like a real place and more like a backdrop against which the rest of the story is set.
Another thing that does "The Origin: Madam Koi-Koi" more harm than good is the decision to split it into two parts, released a week apart. This proved detrimental, revealing flaws in its storytelling. While part one, with its extended runtime, effectively establishes characters and sets up the narrative, the anticipated payoff in the second part falls short of expectations.
The concluding part of "Madam Koi-Koi" stumbles on several fronts, with a notable misstep being its heavy reliance on exposition to delve into crucial character backstories, motivations, and the unfolding plot. The prolonged explanation of Amanda's connection to Madam Koi-Koi exemplifies this narrative misjudgment, further diminishing the already sparse horror elements struggling to evoke fear. This flaw exposes the amateur writing that plagued the story from the beginning, now laid bare without the cover of gradual buildup.
Verdict
"The Origin: Madam Koi-Koi" emerges as a promising concept overshadowed by lackluster execution. Its potential succumbs to the weight of poor writing, uneven performances, and an inability to evoke the horror it aspires to. While occasional glimpses of commendable artistry surface, they remain drowned in a sea of narrative missteps, leaving viewers with more questions than the chills they anticipated.
Random Musings
Mother Superiorβs unchecked power is unrealistic. How does one person fight the government and successfully gaslight other members of staff and students for decades without being checked? Haba na!
Still on Mother Superior. Itβs impossible for every student in a Nigerian Catholic School to refer to her as "ma". It shouldβve been βMotherβ or "Sister".
Remote village or not, howβs it possible that Police Inspector Oscar (Baaj Adebule) was killed and missing for a considering length of time and no one knew?
So, 1990s boarding house students used to sleep in their house wears? Issokay.
Martha Ehinome does a fine job of portraying Amanda (the protagonist). I could see her struggling with the limitations the script here bound her to. I see great potential and believe that, with stronger material, sheβs an actor who can do incredible things on screen. Iβll be watching out for what she stars in from here.
Iβve said countless times that you are an amazing writer.
But I also forgot to mention that you write beautifully, and often times, so well that you confer some quality to some of the shitty movies that come out.
Your writing is so good it makes them look good even when theyβre being reviewed poorly