The Introduction: When Love Becomes a Chain
Nollywood is back in spectacular form, and its latest offering, HOLDING ON (2025), is far more than just another family drama; it’s a psychological deep dive into how unprocessed trauma can metastasize into controlling behavior and religious extremism. Clocking in at just under two hours, this film takes the classic Nigerian family dynamic—the fiercely protective mother, the dutiful but dominating son, and the yearning daughter—and spins it into a taut, often heart-wrenching, yet ultimately redemptive narrative.
The film's core conflict is established swiftly: Becky, the younger sister, is finally ready to move on with her life and her patient suitor, Jack. Standing firmly in her way are her mother's six-year-long, unaddressed grief over the family patriarch's death, which has curdled into a suffocating, almost cultish religious fanaticism, and her older brother Daniel’s alarming shift from supportive sibling to outright psychological warden.
What makes HOLDING ON instantly engaging is its willingness to tackle themes that often lurk beneath the surface of contemporary Nigerian society—the exploitation of vulnerable faith, the dangers of codependency, and the fierce battle for personal autonomy within a collective family structure. It sets a high bar for emotional authenticity, forcing the audience to grapple with the uncomfortable truth that sometimes, the people who love us the most are the ones holding us back.
1. Thematic Weight: Trauma, Control, and Fanaticism
The genius of HOLDING ON lies in its masterful exploration of three interconnected themes, making it feel less like melodrama and more like a case study on grief, codependency, and exploitation.
A Mother's Six-Year Silence: The Face of Unprocessed Grief
The death of the family patriarch six years prior isn't a tragic backstory; it is the active, festering wound that drives the entire plot. Mama, the matriarch, hasn't grieved; she has merely replaced her pain with an intense, ritualistic form of religiosity. This isn't solace; it's self-punishment and control projected outward.
The film visually portrays this transformation brilliantly. Early scenes show her quiet despair, but this quickly evolves into a manic energy centered around daily prayer meetings, fasts, and an unshakeable belief that any joy (like Becky’s impending marriage) is a threat to the family’s spiritual purity. The film implicitly asks: What happens when the expected progression of mourning halts? Mama’s character arc serves as a stark reminder that if grief is not acknowledged and worked through, it can turn into a destructive force against the self and, critically, the family.
The psychological model of grief (Denial, Anger, Bargaining, Depression, Acceptance) is subverted here; Mama has been stuck in a perpetual loop of Bargaining with a punitive God, believing her relentless devotion will somehow reverse the past loss or protect her from future pain. The film is at its best when it illustrates the psychological cost of this emotional stasis.
The Codependency Trap: Daniel's Transition to Warden
While Mama’s grief is loud and spiritual, Daniel’s control is quiet and insidious. Daniel starts the film as the archetypal "man of the house" who stepped up after his father’s passing. He pays the bills, manages the affairs, and supports Becky’s dreams—but only within boundaries he defines. His overprotectiveness isn't love; it's a deep-seated codependency on his sister and mother’s dependence on him. He sees Becky's independence (her job, her suitor Jack) not as growth, but as a threat to his established identity as the family's savior.
The film’s central narrative conflict is Daniel’s systematic manipulation of Becky, subtly poisoning her relationship with Jack, and using Mama's fanaticism as leverage. One key scene, where Daniel "calmly" advises Becky against taking a promotion because it would "take her away from the family," perfectly encapsulates this emotional blackmail. His intentions are ostensibly good, but his methods are toxic and controlling.
The Wolves in Sheep's Clothing: Exploitation of Faith
The inclusion of Prophet Mark is the film's sharpest piece of social commentary. Mark is a hilarious, yet terrifyingly realistic, foil. He isn't a master manipulator; he's a charismatic opportunist who knows exactly which psychological buttons to push. He preys on Mama’s desperate need for certainty and control, offering her hollow assurances in exchange for money and influence.
The scene where Prophet Mark, with ridiculous dramatic flair, attempts to "cast out the demon of joy" from Becky is both high comedy and biting critique. It successfully uses this comic relief not to lighten the mood, but to highlight the absurdity and danger of blind faith when vulnerable people are seeking meaning outside of healthy emotional processing.
2. Character Evaluation: The Trio of Torment
The success of HOLDING ON rests almost entirely on the shoulders of its three main actors, each delivering a complex, nuanced performance that elevates the drama beyond the typical family quarrel.
Becky: The Battle for Autonomy
Becky (played by [Fictional Actress Name]) is the audience’s anchor. Her struggle for autonomy is visceral and relatable. She isn't a rebellious daughter; she is an emotionally mature woman trapped in a perpetual state of childhood. Her frustration is palpable, particularly in her interactions with Daniel. She doesn't scream or fight back aggressively; she uses quiet defiance, which makes the pressure she is under feel even more suffocating.
Her arc, which involves several failed attempts at asserting independence, finally culminates when she realizes that Daniel's control is fueled by her compliance. Her eventual, powerful stand—not a shouting match, but a quiet, firm refusal to obey—is the earned turning point of the film.
Daniel: The Brother Who Couldn't Let Go
Daniel (played by [Fictional Actor Name]) is arguably the most complex and tragic figure. He is a villain created by love and responsibility. His performance skillfully avoids turning him into a mustache-twirling antagonist. Instead, he radiates a genuine, albeit misplaced, concern.
The key to Daniel’s performance is his transition. We see him early on as genuinely protective—driving Becky home, sitting in on her job interview prep. Then, the gradual descent: the subtle lie he tells Jack, the manipulation of Mama's faith, and the final, desperate confrontation with Becky. The actor manages to convey that Daniel is hurting as much as he is harming, fearing the loss of purpose more than the loss of his sister.
Was his eventual realization and apology earned? For a nearly two-hour runtime, yes. The narrative allows Daniel to reach a true emotional breaking point before his confession. His tears feel less like shame and more like the relief of finally shedding the impossible burden of being the family's "guard." It is a moment of profound emotional catharsis, not just for him, but for the viewer.
Mama: The Matriarch's Mania
Mama’s performance is a tightrope walk between high drama and dark comedy. Her descent into fanaticism is portrayed with conviction, making her initially frustrating behavior understandable as a form of self-medication. The actress’s intensity makes the Prophet Mark subplot truly impactful. She is a woman of profound vulnerability, desperate to fill a void that only time and professional help could truly address. Her moments of lucidity, usually when Becky breaks through the wall of religious fervor with simple, emotional appeals, are powerful and brief, underscoring the depth of her denial.
Jack: The Suitor and the Standard
Jack, Becky’s suitor, serves as the necessary external agent of change. He is the standard of healthy, supportive love against which Daniel’s controlling love is measured. While perhaps the least complex character, his quiet persistence and refusal to be driven away by Daniel's manipulations make him a steady, reliable presence. He is the quiet strength that Becky needs to finally push for her freedom.
3. Technical Triumphs and Tribulations
Pacing and Runtime Justification
At 1 hour and 55 minutes, HOLDING ON justifies its runtime by dedicating crucial time to character development. The deliberate pacing allows the audience to understand the nuances of the family’s dysfunction. The story avoids quick fixes; the emotional trauma is slowly and systematically exposed. The only slight drag comes during the Prophet Mark sequences, which, while essential for thematic purposes, occasionally veer too far into broad comedy, briefly disrupting the dramatic tension. However, this is a minor quibble.
Dialogue and Script Authenticity
The dialogue is a major strength. It is highly authentic to the Nigerian setting, seamlessly blending formal English with Pidgin and local vernacular, giving the family arguments a genuine, lived-in feel. The script avoids overly flowery language, favoring direct, sharp exchanges. The final confrontation between Daniel and Becky is a masterclass in tension, using minimalist, emotionally loaded dialogue rather than grand speeches.
Cinematography and Visual Language
The visual language is subtle but effective. Cinematography often utilizes tight framing in the family home, literally making the characters seem boxed in and claustrophobic, mirroring Becky’s emotional state and Daniel’s controlling nature. When Becky finally steps out and meets Jack in a wide, open-plan coffee shop or park, the camera pulls back, visually suggesting the freedom and space she craves. The use of warm, but slightly muted, lighting in the family home reinforces the feeling of stagnant, unresolved sadness.
4. My Verdict: The Power of Letting Go
HOLDING ON (2025) is a film about the universal struggle to transition from a dependent family unit to independent adulthood, amplified by the heavy weight of African filial piety and unresolved trauma. It’s a compelling, often difficult, but ultimately necessary watch.
The movie’s lasting impact is its powerful message that letting go is the final, greatest act of love. Mama needs to let go of her husband’s memory and her rigid religious coping mechanisms. Daniel needs to let go of his identity as the family’s sole protector. And Becky needs to let go of the obligation to manage their emotional well-being. The film is a raw, unflinching look at mental health masked as morality.
Strengths:
- Complex,
layered performances from the main trio.
- Biting
social commentary through the Prophet Mark character.
- Authentic,
engaging, and emotionally resonant dialogue.
- A
fully earned, cathartic ending that focuses on reconciliation over
revenge.
Weaknesses:
- The
comedic scenes sometimes overstay their welcome, momentarily disrupting
the main drama.
- Jack,
while likable, is perhaps too perfect and lacks the complexity of the
other leads.
Score Rating: .......................... (4/5 Stars)
Call to Watch: Don't Hold Out on HOLDING ON
If you’re a fan of Nollywood cinema that tackles profound societal issues with emotional intelligence, or simply someone who appreciates great acting and a well-told story, you absolutely need to see HOLDING ON. It’s a conversation starter and a mirror.
Go watch it now, and then come back and tell us: Did Daniel’s apology feel earned? Let us know in the comments below!
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#NollywoodDrama
#FamilyTrauma
#LettingGo
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