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The newly released short film ILU LE, now streaming on YouTube, attempts to tackle weighty themes such as hospital negligence, political corruption, and personal betrayal. However, while the premise offers promise, the execution ultimately fails to deliver a cohesive and engaging narrative. For many viewers, the movie feels more like an extended TV drama than a sharply focused short film.
Spanning just under an hour, ILU LE opens with a dramatic accident scene that sets the tone for what should be a gripping and emotional journey. But within the first ten minutes, the cracks in direction and performance begin to show. The accident scene, intended to be a turning point in the story, instead comes off as unrealistic and poorly choreographed. The performances in this opening segment fall flat, with little to no emotional impact.
By the 21st minute, another key moment—the strangulation scene—unfolds with similar issues. What should have been a suspenseful and intense confrontation feels forced and unconvincing, largely due to weak acting and lackluster direction. The camera angles, sound editing, and actor chemistry all contribute to a moment that feels more staged than authentic.
The first 30 to 40 minutes of ILU LE drag noticeably. The pacing is slow, and several scenes linger far longer than they should. Viewers are left watching overly extended dialogues and filler moments that do little to move the plot forward. Rather than tightening the storyline to build tension or develop characters meaningfully, the film often meanders, leaving audiences wondering about the direction of the narrative.
Despite these flaws, ILU LE is not without its redeeming qualities. Otun delivers a standout comedic performance that injects much-needed energy into the film. His timing, expressions, and delivery elevate every scene he appears in, offering some respite from the otherwise inconsistent tone of the movie. Many viewers have praised Otun’s role as the highlight of the entire project.
Adeniran and Adewale also bring a degree of maturity and control to their roles, showing depth in their portrayals that contrasts sharply with some of the weaker performances in the ensemble. Their presence on screen helps ground the story, even when the plot itself begins to feel unfocused.
Unfortunately, the movie suffers from a lack of strong editing and story development. Several scenes could have been trimmed or reworked entirely to create a more realistic and emotionally resonant film. The transitions between scenes often feel abrupt or disconnected, contributing to an overall disjointed experience. Additionally, dialogue in many parts of the film is either overly dramatic or lacks natural rhythm, further distancing the audience from the characters’ emotions and motivations.
ILU LE tries to address socially relevant topics that deserve attention—particularly issues like medical negligence and the betrayal of public trust—but the message gets buried under poor execution. With a tighter script, more deliberate direction, and a stronger emphasis on character development, the film could have left a lasting impression. Instead, it struggles to hold its own, ultimately coming off as a well-intentioned but underwhelming attempt at social commentary through film.
In summary, ILU LE is a film that had potential but stumbled in its delivery. Viewers may appreciate the performances of Otun, Adeniran, and Adewale, but the overall experience is marred by uneven acting, sluggish pacing, and ineffective storytelling. For those expecting a gripping short film, ILU LE may disappoint. It earns a modest rating of 4 out of 10. No offense—just honest critique.
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