The Sins of the Past and the PA Job from Hell: A Review "With Love, Hazel"
If there is one thing Nollywood has mastered in this "New Era" of YouTube-driven cinema, it’s the art of the "corporate-romance-meets-moral-reckoning." We’ve seen the formula a thousand times: a struggling, overqualified woman, a stern but misunderstood billionaire, and a secret from the past that threatens to blow the whole thing up.
"With Love, Hazel," starring the ever-expressive Bolaji Ogunmola and the smooth-talking Deyemi Okanlawon, walks right into this familiar territory. But does it offer a fresh plate of Jollof, or is it just reheated leftovers? As a veteran of this industry, I’m looking past the pretty faces to see if the soul of the story actually beats.
Style Selection: Performance-Led Review
For this critique, we are anchoring our analysis on the heavy lifters—the actors. In a film that relies so heavily on chemistry and character redemption, the performances are the bridge between a "skip" and a "must-watch."
Performance & Character Credibility: The Bolaji-Deyemi Tax
Let’s be real: you don't cast Bolaji Ogunmola if you want a wallflower. Bolaji plays Hazel with a desperate, frantic energy in the opening scenes that feels uncomfortably real for anyone who has ever faced the Lagos "sapa" (poverty) or the soul-crushing experience of being blacklisted in your industry. Her portrayal of a woman falling from grace—from a high-flying strategist to a PA fetching coffee—is grounded. She doesn't just play "poor"; she plays "shame," which is a much harder emotion to capture.
Then we have Deyemi Okanlawon as Omari. Deyemi has perfected the "Stern CEO with a Secret Soft Spot" archetype to the point where he could probably do it in his sleep. However, what makes Omari different here is his chemistry with the younger cast. His interactions with his daughter, Sariah, add a layer of vulnerability that saves him from being a one-dimensional "angry boss."
The chemistry between Bolaji and Deyemi is slow-burn. It doesn't feel rushed, which is a common Nollywood sin. When they finally start bonding over business pitches at night, it feels earned. You see two workaholics finding a common language, which makes the eventual fallout hit much harder.
Cinematography & Visual Mood
Visually, the film leans into the high-gloss "Lagos Glamour" aesthetic. The camera work is clean, utilizing a lot of mid-shots and close-ups to capture the tension in the office.
The Good: The lighting in the night-time office scenes is moody and effective, avoiding that "flat" TV-movie look.
The Bad: Like many digital-first Nollywood films, there’s an over-reliance on drone shots of Lekki-Ikoyi Link Bridge to signal "luxury." We get it—they are in Lagos. I would have loved to see more visual storytelling in Hazel’s cramped apartment to contrast with the sterile beauty of Omari’s office.
Sound Design & Music
The sound is surprisingly crisp. In many YouTube-distributed films, you often hear the "hiss" of a Lagos AC or the distant honking of a Danfo bus in the background of a "quiet" scene. Here, the dialogue clarity is top-tier. The score is standard romantic-drama fare—lots of swelling piano and soft strings—but it stays in its lane and doesn't drown out the emotional beats.
Storytelling & Plot Logic: The "Runaway Bride" Problem
The narrative structure follows a classic three-act arc, but the "Big Reveal" in the second act is where things get shaky. Hazel is revealed to be an ex-fiancée who left a man at the altar after cheating.
In the context of Nigerian societal realism, leaving a man at the altar is a "capital offense" in the court of public opinion. The film handles this by having Omari react not just as a man, but as a father. His fear isn't just "my girlfriend is a cheater"; it’s "I cannot bring this instability around my daughter." This is a smart writing choice that elevates the conflict beyond a simple lover's tiff.
However, the resolution feels a bit hurried. While the "accountability tour" Hazel goes on is necessary, the transition from "I never want to see you again" to "Let’s try this" happens within the final ten minutes. We needed more of the "work" of forgiveness, not just a heartfelt speech from a teenager.
Costume & Production Design
The wardrobe department deserves a raise. Bolaji’s transition from "struggling girl in oversized tees" to "polished professional" is subtle and effective. Deyemi’s suits are, as expected, sharp enough to cut glass. The production design of the office feels like a real place of work—cluttered with files and laptops—rather than a staged living room with a desk in the middle.
The Veteran’s Verdict
"With Love, Hazel" is a polished, emotionally resonant drama that succeeds because it respects its characters' baggage. It’s not just a romance; it’s a story about the difficulty of outrunning a bad reputation in a city that never forgets.
While it leans on a few tired tropes (the meddling friend, the coincidental meeting of the ex), the powerhouse performances by Ogunmola and Okanlawon keep it firmly above the sea of mediocre Nollywood romances. It’s a testament to how far our "straight-to-digital" productions have come in terms of technical quality and acting caliber.
Who should watch this film? If you’re a fan of Skinny Girl in Transit or The Men’s Club, or if you just enjoy a well-acted "enemies-to-lovers" story with a side of Nigerian moral complexity, this is for you.
Overall Rating: .............(3.5 / 5 Stars)
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