Redemption or Retread? Nadia Buari and Frederick Leonard Sizzle in ‘A Chance at Love’
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Rating: 3.5 / 5 Stars
In the ever-evolving landscape of Nollywood, where the "New Nollywood" cinema aesthetic often clashes with the "Old Nollywood" penchant for melodrama, finding a balance is a tall order. A Chance at Love, directed by Uchenna Mbunabo, attempts to walk this tightrope. It is a film that feels deeply rooted in the classic home-video storytelling tradition—complete with the "returned ex," the "innocent child," and "spiritual" levels of villainy—yet it is polished with the high-definition gloss and suave lead performances we’ve come to expect from modern Nigerian streaming hits.
As a veteran of this industry, I’ve seen countless "Baby Mama" dramas, but rarely do they feature the level of chemistry displayed here by Nadia Buari and Frederick Leonard. Let’s dive into why this film is currently dominating conversations in the diaspora and across Lagos.
Cinematography: Glossy Frames and Living Room Vistas
Visually, A Chance at Love is a testament to how far Nollywood’s technical "floor" has risen. The cinematography is clean, utilizing the high-contrast, saturated look that has become the hallmark of premium Nigerian digital productions.
The director makes heavy use of medium close-ups during the high-tension dialogue scenes between Miriam (Nadia Buari) and Kingsley. This choice effectively traps the viewer in Miriam’s mounting anxiety. However, the film occasionally falls into the "TV-style" trap—static wide shots of opulent living rooms that feel more like a real estate commercial than a cinematic narrative. Where the cinematography truly shines is in the night scenes. Often, Nollywood struggles with "noise" in low light, but the lighting consistency here during Miriam’s late-night delivery to Jason’s house is professional, creating a soft, romantic mood that contrasts sharply with the harsh, flat lighting of the restaurant kitchen.
Sound Design: The Rhythm of Romance and Rage
Sound design is often the Achilles' heel of Nollywood, but A Chance at Love manages to avoid the most common pitfalls. The dialogue is crisp and audible, even during the shouting matches between Kingsley and Miriam.
The score is predictably "Nollywood-esque"—heavy on strings during the emotional revelations and ominous low notes when Kingsley appears. While it’s not reinventing the wheel, the timing of the music cues is impeccable. When Jason finally confesses his feelings, the swelling score helps sell a moment that could have otherwise felt cheesy. One minor critique: the ambient sound in the restaurant scenes occasionally feels a bit "hollow," missing the natural clatter and chatter that would make the setting feel lived-in.
Costume, Makeup & Production Design: Defining Class
The production design does a fantastic job of using "visual shorthand" to communicate social standing.
Miriam (Nadia Buari): Her wardrobe is a mix of practical chef whites and modest, colorful African prints when she’s at home. It screams "struggling but dignified."
Jason (Frederick Leonard): Dressed in impeccably tailored suits and high-end loungewear, his clothes do half the acting for him, establishing him as the "Prince Charming" figure of the legal world.
Kingsley: His outfits are loud and expensive, perfectly capturing the "South African returnee" who wants everyone to know he has "arrived."
The makeup is remarkably consistent. Even in scenes where Miriam is crying or stressed, the makeup remains realistic—avoiding the "over-glammed" look that often ruins the immersion in Nigerian dramas.
Narrative Structure: A Slow Burn with a Sharp Turn
The film’s structure follows a traditional three-act play. The opening hook—a dispute over a salty meal—is a clever way to bring the leads together. It’s a classic "meet-cute" with a Nigerian twist.
However, the pacing in the second act suffers from a common Nollywood ailment: the dragging subplot. The repetitive confrontations between Miriam and her manager, while establishing her workplace hardship, could have been trimmed to make room for more development of Avery’s perspective. The transition from a romance-drama to a high-stakes thriller (the shooting and the "drug lord" revelation) feels slightly rushed, but the emotional payoff when Kingsley is finally led away in handcuffs is deeply satisfying for the audience.
Plot Logic: Tropes and Triumphs
We have to talk about the "Kingsley" problem. His sudden return after 14 years to claim a child he once wanted aborted is a trope we’ve seen since the days of Living in Bondage. While his motivation (revealed later as his fear of being called "impotent") adds a layer of psychological realism common in patriarchal societies, his "villainy" is almost cartoonish at times.
The "Lawyer as a Savior" trope is also heavily leaned upon. Jason isn't just a lawyer; he’s a billionaire, a protector, and a marksman (spiritually, if not literally). While this fits the "Aspiration Nollywood" mold, one wonders if the story would have been more powerful if Miriam had found a way to fight back using her own resources before Jason stepped in.
Characterization & Performance: The Power of the Lead Duo
Nadia Buari as Miriam
Nadia delivers a masterclass in "The Vulnerable Matriarch." Her performance is subdued, relying on her eyes to convey the terror of a mother about to lose her world. Her chemistry with the young actress playing Avery is genuine, making the stakes of the custody battle feel personal to the viewer.
Frederick Leonard as Jason
Frederick Leonard is, quite simply, the king of this archetype. He delivers his lines with a baritone authority that makes the courtroom threats feel real. His "man-to-man" confrontation with Kingsley is a standout scene, showcasing his ability to be both intimidating and incredibly calm.
The Supporting Cast
Special mention must go to the actress playing Avery. It is rare to find child actors in Nollywood who don't sound like they are reading from a teleprompter. Her scene where she tells Miriam, "You're my father and my mother", is the emotional heart of the film.
Thematic & Cultural Relevance: The Nigerian Reality
A Chance at Love touches on several raw nerves in Nigerian society:
Single Motherhood Stigma: The way Miriam’s manager treats her reflects the real-world discrimination single mothers face in the workplace.
The "Big Man" Syndrome: Kingsley’s belief that he can "buy the judge and whoever is associated" is a stinging commentary on the perceived corruption within the legal system.
The Returnee Narrative: The film explores the tension between those who stayed and struggled in Nigeria and those who went abroad, made money (often through illicit means), and returned to "bully" the locals.
The Verdict: Is It Worth Your Data?
A Chance at Love is not a film that attempts to reinvent cinema. It is a film that knows exactly what its audience wants: justice, romance, and beautiful people. While the plot is predictable and the "drug lord" twist in the final act feels a bit like a Deus ex Machina to get Kingsley out of the way, the performances elevate the material. It is a "comfort movie"—the kind you watch on a Sunday afternoon when you want to believe that, despite the chaos of the world, the "bad guy" will go to jail and Frederick Leonard will show up at your door with an eviction-reversing smile.
Who should watch this? If you are a fan of classic Nollywood romances like The Mirror Boy or if you simply enjoy watching two veterans like Buari and Leonard command the screen, this is for you. It’s also a great pick for diaspora audiences looking for a high-quality production that feels like "home."
Overall Rating: ....................... ½ (3.5/5)
The Call-to-Watch: Stop what you’re doing and head over to YouTube to watch A Chance at Love. Whether you’re here for the legal drama or the sizzling chemistry between Jason and Miriam, this movie delivers the "feel-good" ending we all need right now.
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