The Mother-in-Law from Heaven or Hell? A Review of "UJU’S WAR"
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Overall Rating: ............ (3.5/5 Stars)
If you've ever felt your home invaded by unannounced in-laws, 'Uju's War' (2026) starring Sonia Uche, Chioma Nwosu, and Bryan Okwara will hit you like a pot of scalding vegetable soup. This ChinneyLoveEze Tv production captures the raw, everyday tensions of Nigerian newlywed life with a mix of humor, heartbreak, and high stakes. Released just days ago on January 2, 2026, it's a timely reminder that in Nollywood, family feuds are the real blockbusters.
The "Mother-in-Law vs. Daughter-in-Law" trope is as old as Nollywood itself. From the classic era of Patience Ozokwor’s legendary villainy to the modern, polished "Glamour Girls" aesthetic, the friction between the woman who birthed the son and the woman who married him is a narrative well that never runs dry. In "UJU’S WAR", producer Chinneylove Eze attempts to breathe fresh life into this familiar territory in a domestic duel that is as much about psychological warfare as it is about burnt fufu and unannounced visits.
Visuals and Aesthetic: Polished Living or Just a Set?
From the opening shots, "UJU’S WAR" positions itself within the "New Nollywood" bracket—high-definition visuals, vibrant colors, and a focus on middle-class luxury. The cinematography is clean, utilizing a steady camera that favors medium shots to capture the domestic space.
However, there’s a recurring issue seen in many modern Nigerian productions: the "TV-style" static framing. Most of the scenes occur in the living room or kitchen, and while the lighting is consistent (thankfully avoiding the harsh shadows of low-budget night shoots), the framing occasionally feels uninspired. We see a lot of "head-on" dialogue shots. Where the film shines visually is in the close-ups during the intense confrontations between Uju (Sonia Uche) and Mama (Chioma Nwosu). You can see the twitch of a lip and the fire in the eyes, which elevates the emotional stakes beyond a mere shouting match.
The Sound of Discord: Mixing and Music
In Nollywood, sound is often the Achilles' heel. In "UJU’S WAR", the dialogue is generally audible and crisp, suggesting the use of high-quality lapel or boom mics. However, the sound mixing sometimes struggles with balance. There are moments where the background score—intended to heighten the tension—creeps a little too high, almost competing with the actors’ delivery.
The music itself is culturally grounded. The use of traditional-leaning scores during Mama’s more "village-inspired" moments creates a sharp sonic contrast with the contemporary, upbeat tracks used during Uju and Benjamin’s romantic interludes. It’s a subtle but effective way to signal the clash of two worlds: the traditional matriarchy and the modern nuclear family.
Costume and Production Design: Communicating Status
The production design team deserves a nod for their attention to character-driven wardrobe. Uju is draped in modern, chic "Aso-Ebi" and loungewear that screams "Gen-Z/Millennial wife"—she is the image of modern Nigerian aspiration. Conversely, Mama’s wrappers and headgear are authentic to her regional background and social class.
The kitchen, which serves as the primary battlefield, is well-stocked and looks lived-in, not just like a showroom. A pivotal plot point involves Uju’s "non-stick pots" being replaced by Mama’s "aluminum pots." This isn't just a prop choice; it’s a brilliant narrative device that represents the friction between modern convenience and "the old way" of doing things. It’s a detail that every Nigerian woman who has ever had a mother-in-law visit will immediately recognize.
Narrative Structure: A Game of Two Halves
The film’s structure follows a classic three-act arc, but with a uniquely Nigerian pacing. The first act builds the tension beautifully. Mama arrives unannounced, and the "honeymoon phase" of Uju’s marriage is instantly punctured.
The pacing in the middle, however, suffers from a common Nollywood trope: the repetitive cycle of conflict. We see several variations of the "Mama enters the kitchen/Uju gets annoyed" scene. While these beats build frustration, some could have been tightened to keep the momentum toward the climax. The resolution, which hinges on Uju’s pregnancy and a sudden health crisis, feels a bit rushed compared to the slow-burn animosity of the first hour, but the emotional payoff is surprisingly genuine.
Plot Logic: The "Spiritual" vs. The "Societal"
One of the most interesting aspects of "UJU’S WAR" is how it handles the "Village People" trope. In many older films, Mama would have been a literal witch using a charm. Here, the "warfare" is more grounded in psychological manipulation and societal expectations.
There is a moment where Uju’s own mother enters the fray, advising her daughter to "protect her home". This highlights a tragic reality in many Nigerian families: the projection of past traumas onto the next generation. Uju isn't just fighting her mother-in-law; she’s fighting her own mother’s bitter memories. The plot logic holds up well until the final act, where Uju’s mother’s refusal to help her pregnant daughter feels slightly exaggerated to make Benjamin’s mother look better by comparison. It’s a narrative shortcut, but it serves the film’s message of reconciliation.
Performance Analysis: A Masterclass in Tension
Sonia Uche (Uju): Sonia continues to prove why she is one of the most sought-after leads in the industry. She plays Uju with a blend of vulnerability and "don’t-test-me" energy. Her code-switching between polished English and more aggressive Pidgin during her outbursts feels natural and deeply Nigerian.
Chioma Nwosu (Mama): Chioma is the soul of this film. She avoids the caricature of the "wicked mother-in-law" by infusing the character with a sense of duty. She genuinely believes she is helping her son. Her performance during the reconciliation scene is moving, stripping away the bravado to show a woman who is just as scared of being lonely as Uju is of being controlled.
Bryan Okwara (Benjamin): Bryan plays the "man in the middle" role with a weary charm. While his character often feels passive—a common complaint about husbands in these films—his eventual decision to ask his mother to leave is a crucial moment of character growth that Bryan handles with the right amount of gravity.
Thematic & Cultural Relevance
"UJU’S WAR" is a mirror held up to the Nigerian middle-class family. It tackles:
The "Front Seat" Politics: A hilarious yet deeply symbolic scene that perfectly captures the hierarchy of respect in Nigerian culture.
Boundaries: The film asks the difficult question: Where does a mother’s right end and a wife’s authority begin?
Pregnancy as a Bridge: It explores the cultural idea that a child is the ultimate "peace treaty" in a fractured family.
The Verdict
"UJU’S WAR" is not just another "clash of the ladies" movie. It is an insightful, often humorous, and ultimately touching look at the complexities of the Nigerian extended family. While it occasionally falls into the trap of repetitive dialogue and a slightly convenient ending, the powerhouse performances of Sonia Uche and Chioma Nwosu make it a must-watch.
It is a film that will spark conversations in living rooms across Lagos, Abuja, and the Diaspora. It teaches us that "war" in a family rarely has a winner, only survivors who eventually have to learn how to live together.
Who should watch this film? Newlyweds, mothers-in-law (be brave!), and anyone who enjoys a character-driven drama that feels like it could be happening right next door.
WATCH IT. It’s relatable, culturally resonant, and features some of the best acting you'll see in Nollywood this year.
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