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Cast: Inem King, Blessing Obasi, Stan Nze, Chukwuka Jude
Plot Overview
Favour and Fury explores the tense relationship between two sisters whose bond is strained by their father’s blatant favoritism. The story raises a question that lingers throughout the film: why would a father openly prefer one daughter over the other?
From childhood, it is immediately apparent that the father treats the sisters differently. While the film doesn’t clarify the reason—whether they have different mothers, one is a stepchild, or there was some adoption issue—the unequal treatment sets the stage for years of resentment. As the sisters grow older, this imbalance becomes more pronounced.
The father is wealthy and capable of providing both daughters with opportunities abroad, but he chooses to send only the younger daughter for studies. This decision sparks a rift that continues into adulthood. Fifteen years later, the elder sister has taken over the family business and is working tirelessly to keep it afloat, yet the father insists that the younger daughter should inherit control. No matter what she accomplishes, her achievements are never enough to earn his approval.
My Take
One of the first things that drew me to Favour and Fury was its relatively short runtime. Unlike many Nollywood films on YouTube, which often exceed two hours, this movie wraps up in just 1 hour and 18 minutes—a welcome relief for viewers looking for a quicker watch.
The narrative opens with the sisters as children, immediately highlighting the father’s uneven treatment. Yet, the story leaves key questions unanswered, which can be frustrating for the audience. The film could have benefitted from some backstory to explain why the father favors one child so openly.
As the story moves to adulthood, certain scenes feel unnecessarily prolonged. For example, Nene’s phone conversations and her car breakdown seem drawn out, with one scene lasting nearly five minutes, testing the viewer’s patience. Meanwhile, the character Shola, played by Stan Nze, feels underdeveloped and somewhat irrelevant, leaving me wondering about his role in the larger narrative.
Nene’s behavior was another point of frustration. Despite being intelligent, capable, and attractive, she tolerates a father who clearly holds disdain for her. The slap scene epitomized this dynamic. While some may interpret her endurance as patience, I personally found it exasperating—why remain in a household where you are disrespected?
The younger sister’s reaction is equally disappointing. If both daughters share the same parents, one would expect her to confront their father’s bias, but instead, she seems indifferent to the injustices, letting them slide. This lack of accountability diminishes the impact of the conflict and leaves some of the emotional tension unresolved.
Adding to the film’s inconsistencies, the father suddenly dies without any prior buildup or explanation. It’s unclear whether his demise was a result of his own misdeeds or just a narrative convenience to move the story forward. Another confusing choice was the decision to have two different actors portray the father at different points in the film, which disrupted the continuity and felt jarring.
The story hinges on a prophecy from the grandmother, which motivates the father’s treatment of his daughters. While this element provides some cultural context, it also raises questions about real-life family dynamics. Can someone truly justify treating their own child poorly based on a prediction? This aspect, while dramatic, may feel exaggerated for some viewers.
Despite these flaws, Favour and Fury remains an engaging watch, particularly for those who prefer shorter Nollywood films. The performances of Inem King and Blessing Obasi anchor the emotional core of the story, and the film moves quickly enough to keep the audience invested, even if some plot points feel underdeveloped or rushed.
Rating: 6.5/10
In conclusion, Favour and Fury is a solid, if imperfect, addition to Nollywood’s growing catalogue of family dramas. It’s a quick, watchable film with strong performances but hampered by uneven pacing, underdeveloped characters, and narrative inconsistencies.
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