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Rating: 3.5 / 5 Stars
Nollywood has a long-standing obsession with the "pursuit" of love—the grand proposals, the lavish white weddings, and the dramatic village interventions that lead to a "happily ever after." But rarely do we sit in the discomfort of what happens at month six, when the wedding cake is long finished and the reality of shared chores, differing upbringings, and communication breakdowns begins to rot the foundation.
It Wasn’t Supposed To Be Love, starring the ever-charismatic Daniel Etim Effiong and the relatable Chinonso Arubayi, dives headfirst into this domestic trenches. It isn’t a movie about a cheating husband or a wicked mother-in-law (thankfully skipping those tired tropes); instead, it’s a surgical look at how "small" things—unwashed plates, comparisons, and childhood traumas—can dismantle a home faster than a third party ever could.
Cinematography & Visual Mood: Moving Beyond the "TV-Style" Aesthetic
From a technical standpoint, the film benefits from the clean, high-definition aesthetic we’ve come to expect from modern Lagos-based productions. The lighting in the couple’s apartment is consistent, avoiding the harsh, unnatural shadows that often plague mid-budget Nollywood interiors.
However, there is a distinct reliance on the "Medium Shot" during dialogue. While this works for television, a bit more variety in framing—perhaps tighter close-ups during Ifaya’s moments of internal crisis—would have elevated the emotional stakes. The color grading leans toward warm, domestic hues, which successfully creates a sense of intimacy that makes the eventual shouting matches feel even more intrusive. It feels like we are eavesdropping on a real Lagos couple in a real Lekki apartment.
The Sound of Silence and Screams
Sound design is often the Achilles' heel of Nollywood, but here, the dialogue is crisp and audible. The background score is subtle, favoring contemporary Nigerian moods that don't overpower the actors.
What stands out is the use of silence. In the scenes following their major blowouts, the lack of music underscores the heavy, suffocating atmosphere of a home where two people are living together but are worlds apart. The only minor gripe is the sound mixing in the hospital scenes, where ambient noise occasionally competes too much with the dialogue, but it’s a small blemish on an otherwise professional audio track.
Costume and Production: Character Through Cloth
The production design does a fantastic job of establishing social class without saying a word. Will (Daniel Etim Effiong) is impeccably dressed in corporate-casual attire that screams "upwardly mobile Lagos professional."
In contrast, Ifaya’s wardrobe reflects her internal state. We see her transition from the polished look of a new bride to the disheveled, "done-with-this" appearance of a woman juggling a career and a demanding husband. Her outfits feel authentic to a woman of her status—relatable but aspirational. The sets are equally telling; the house is beautiful, but as the marriage frays, the "mess" becomes a character in itself, representing the domestic labor gap that fuels their fire.
The Narrative Hook: A Slow Burn into Domestic Warfare
The film opens with a deceptive sense of calm. The hook isn’t a "bang" but a slow realization that Will and Ifaya are fundamentally mismatched in their expectations of domestic life.
The pacing is deliberate. While some might find the middle section—filled with repetitive arguments about chores—a bit "dragging," I would argue this is a narrative choice. Marriage isn't usually destroyed by one giant event; it’s eroded by the same argument happening 50 times. The screenplay captures this perfectly. The introduction of Kim (the secretary) and Brenda (the toxic friend) provides the necessary external pressure to force the couple toward a climax.
Plot Logic: The Ghost of Mothers Past
The most profound element of the story is the "Why." Why is Ifaya so defensive about doing dishes? Why is Will so obsessed with a "perfect" home?
The film avoids making them villains. Instead, it reveals that Ifaya is reacting to the trauma of seeing her mother treated like a glorified maid. This is a very "Nigerian" reality—children of the previous generation often over-correct the mistakes they saw their parents make. The logic holds up: Ifaya isn't "lazy"; she is terrified of losing her identity.
The only slight gap in logic is the character of Dio, Will’s friend. While he serves as a foil to show that Will is "one of the good guys," his subplots feel a bit disconnected from the main emotional arc, existing mostly to provide comedic relief or a "bad example."
Performances: Effiong and Arubayi Deliver
Daniel Etim Effiong continues to prove why he is Nollywood’s leading man for intellectual roles. He plays Will with a mix of genuine love and infuriating "gaslighting-lite." He makes you understand Will’s frustration while making you want to shake him for being so insensitive.
Chinonso Arubayi is the soul of the film. Her portrayal of Ifaya is layered. She manages to convey the exhaustion of the modern Nigerian woman—expected to contribute financially but still maintain the traditional "home-maker" role perfectly. Her breakdown when she realizes she is pregnant amidst the chaos is a standout moment of the film.
Thematic Depth: Social Commentary on the Modern Nigerian Marriage
The film tackles several heavy themes:
The Domestic Labor Gap: It challenges the Nigerian "alpha male" trope that expects a working wife to also be a full-time chef and cleaner.
The Influence of Friends: The contrast between Brenda (who suggests abortion and divorce) and Ifaya’s mother (who advocates for understanding) highlights the tug-of-war young couples face between modern individualism and traditional endurance.
Trauma Projection: It shows how we bring our parents' baggage into our own bedrooms.
The resolution—Will firing his secretary and hiring domestic help—might seem like a "neat" ending, but in the context of the story, it represents a tangible shift from "I want to be right" to "I want to be married."
The Verdict
It Wasn’t Supposed To Be Love is a mature, nuanced, and necessary film. It doesn't rely on "Juju" or exaggerated infidelity to create drama. It finds the drama in the everyday, making it one of the most relatable Nollywood dramas of the year. While it could have benefited from tighter editing in the second act, the performances and the cultural relevance make it a must-watch.
Who should watch this?
Newlyweds (or those about to say "I do").
Couples struggling to balance career and home.
Anyone who enjoys character-driven dramas that feel like real life.
My Thoughts: If you’re looking for a movie that mirrors the conversations you’ve had behind closed doors, this is it. It’s a mirror, a lesson, and a message of hope all wrapped in one.
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