Love, Religion, and the Timini Effect: A Deep Look into 'Loving You Is a Crime'
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Rating: 3.5/5 Stars
Nollywood loves its "lover boy" archetype, but no one embodies it with Timini Egbuson's effortless charm — or seductive peril. In the recently released drama Loving You Is a Crime, we are served a cocktail of familiar Nigerian societal pressures: the weight of religious intolerance, the stigma of out-of-wedlock pregnancy, and the classic "rich boy meets girl in trouble" dynamic.
As a veteran observer of the industry’s evolution from the VCD era to the YouTube and Netflix age, I went into this film looking for more than just another romance. I wanted to see if the director could navigate the murky waters of interfaith conflict without falling into the trap of lazy clichés. What i got was a film that, while technically uneven, manages to capture a very specific Nigerian heartbeat.
The Visual Narrative: A Tale of Two Aesthetics
From the opening frames, Loving You Is a Crime positions itself within the "New Nollywood" YouTube aesthetic—clean, vibrant, and heavily reliant on the "Lekki-standard" lifestyle.
Cinematography and Lighting
The cinematography leans heavily on medium shots and close-ups, particularly in the early scenes between Jennifer (Bam Bam Olawunmi) and Omar. While this creates an initial sense of intimacy, it occasionally feels restrictive, missing opportunities to use the environment to tell the story.
The lighting consistency is a bit of a mixed bag. In the interior scenes at Madame O’s house, the lighting is warm and expensive-looking, effectively communicating Ben’s wealthy background. However, some of the night shoots suffer from the "flatness" typical of mid-budget productions where the lack of sophisticated equipment is masked by over-brightening in post-production.
Color Grading and Visual Mood
The color palette shifts effectively as Jennifer’s life unravels. We start with bright, celebratory tones during her birthday car surprise, which slowly give way to cooler, more somber blues and greys once the reality of her pregnancy and Omar's betrayal sets in. It’s a subtle touch that elevates the film from a mere "TV-style" drama to something more cinematic.
Sound Design: The Silent Killer of Impact
In Nollywood, sound is often the Achilles' heel, and Loving You Is a Crime isn't entirely exempt.
Dialogue Clarity: For the most part, the dialogue is audible, which is a relief. However, there are moments in the outdoor hospital scenes where ambient noise competes with the actors' voices.
The Musical Score: The soundtrack does a heavy lift here. The use of contemporary Nigerian R&B during the romantic buildup between Ben and Jennifer is well-timed. However, the film occasionally suffers from "over-scoring"—where the music tells you exactly how to feel (sad piano for sad scenes) instead of letting the performances breathe. Silence is a tool Nollywood directors are still learning to trust, and a bit more of it here would have sharpened the emotional edges.
Production Design: Class, Cloth, and Character
The costume department deserves a nod for their work on Madame O (Chioma Nwosu). Her outfits—bold, structured, and unapologetically "Big Mommy"—immediately establish her status before she even speaks a word.
Jennifer’s wardrobe transition is equally telling. We see her move from the polished, confident corporate look of a woman who thinks she’s about to be a wife, to the softer, more vulnerable silhouettes of someone trying to rebuild her life. The authenticity of the costumes relative to social class is one of the film’s strongest technical points. The set design of Ben’s home feels lived-in and luxurious, avoiding the "hotel room" feel that plagues many lower-budget Nigerian films.
Storytelling: The Religious Wall and the Pregnancy Pivot
The Hook and the Conflict
The film jumps straight into the meat of the story: a six-year relationship hitting the brick wall of religious intolerance. When Omar tells Jennifer that his mother will never accept a non-Muslim, it strikes a chord because this is a lived reality for thousands of Nigerians. The writing here is sharp, highlighting the cowardice of men who hide behind "mummy’s wishes" to avoid responsibility.
Pacing and Structure
The first act is tightly paced, but the middle section—Jennifer’s transition into Madame O’s house—drags slightly. We spend a lot of time on "filler" dialogue that doesn't necessarily move the plot forward. However, the film regains its footing when the chemistry between Ben and Jennifer begins to simmer.
The resolution feels a bit rushed. The transition from Ben being a "womanizer" (as described by his mother) to a devoted partner willing to raise another man's child happens quite quickly. While we want the "happily ever after," a few more scenes showing Ben’s internal growth would have made the climax more earned.
Plot Logic: Navigating the "Nollywood Shortcut"
While the emotional beats land, there are a few "Nollywood shortcuts" that raise eyebrows.
The Uncle’s Pressure: The medical doctor uncle who pressures Jennifer to marry is a classic trope. While realistic in a Nigerian context, his character feels a bit one-dimensional.
Omar’s Exit: Omar disappears from the narrative quite abruptly. While this mirrors how some men exit lives in real life, a final confrontation or a moment of realization on his part would have provided better closure for the audience.
Performances: Timini, Bam Bam, and the Queen of the Screen
Timini Egbuson (Ben)
Timini does what Timini does best. He brings a charm that makes a potentially unlikeable character (a self-admitted "bad boy") someone the audience roots for. His transition from insensitive remarks to genuine care is handled with a nuanced performance that proves why he remains a leading man in the industry.
Bam Bam Olawunmi (Jennifer)
Bam Bam delivers a grounded performance. She portrays Jennifer's heartbreak not through loud wailing, but through a quiet, hollowed-out sadness that is far more moving. Her chemistry with Timini is palpable; they move from friction to friendship with a believable ease.
Chioma Nwosu (Madame O)
The standout, however, is Chioma Nwosu. She plays the protective mother with a mix of steel and hidden softness. Her warning to Jennifer about her own son is one of the most honest moments in the film—a mother acknowledging the flaws of the man she raised.
Cultural Relevance: Love in a Divided Climate
The core of this film is a social commentary on the rigid structures of Nigerian society. It tackles:
Interfaith Marriage: The film doesn't provide easy answers, reflecting the pain caused when dogma overrides love.
The "Single Mother" Stigma: Jennifer’s journey from shame to finding a man who accepts her "baggage" is a progressive take for a Nollywood production, which often leans toward punishing "wayward" women.
The film appeals to both the local audience (who will recognize the religious and family pressures) and the diaspora (who will enjoy the high-production values and the relatable theme of finding love in unexpected places).
The Verdict: Is It Worth Your Data?
Loving You Is a Crime is not a perfect film, but it is a deeply human one. It takes the "pregnancy trope" and infuses it with enough modern sensibility and star power to keep you watching until the final frame.
The technical flaws—occasional sound dips and a slightly rushed third act—are overshadowed by the strong performances of the lead trio. It’s a story about the fact that sometimes, the "crime" isn't the love itself, but the societal walls we build around it.
Who should watch this? If you’re a fan of Timini Egbuson’s romantic dramas, or if you enjoy stories about resilient women finding their feet after a devastating breakup, this is for you. It’s a perfect "Sunday afternoon" movie that will spark a conversation about whether love can truly conquer religion in modern Nigeria.
Loving You Is a Crime proves that while we may not be able to choose who our parents want us to love, we can certainly choose who we stay with when the world turns its back.
Watch it for the chemistry, stay for the lessons on resilience.
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