For additional thoughts on Eyimofe (This Is My Desire), please check out our discussion on The Video Attic here.
Nigerian twin brothers Arie and Chuko Esiri cite New Taiwan Cinema as a major influence on their filmmaking, but is difficult not to conjure up memories of Ousmane Sembène, often dubbed the “father of African film,” as a narrative forbear to their impressive feature debut Eyimofe (This Is My Desire). It was a little over a year ago that I first watched Sembène’s knockout narrative Mandabi, which traced the absurdities of bureaucracy and the obstacles firmly in place to prevent anyone from strengthening their position in society in Senegal. Eyimofe comes to us fifty years later and from Nigeria, but the struggle to achieve your dreams has remained painfully familiar.
Eyimofe pointedly opens with Mofe (Jude Akuwudike), a factory technician working in Lagos, as he sorts through a jumbled box of wires to perform a temporary repair to restore power that through context clues we know has been performed a number of times. Pleas to his boss to get a new electrical box are met with the typical waving away and refrain of “it will get here when it gets here.” Such actions are symbolic of the city in which he resides, precariously held together by tape and a prayer without tending to some of the larger issues that prevent its residents from creating meaningful opportunities for themselves. Mofe is one of two central characters, alongside Rosa (Temi Ami-Williams), in this bifurcated narrative which focuses on the desire to immigrate away from Lagos to live a bigger and better life in Europe. Curiously split up into halves titled “Spain” and “Italy,” you soon learn that these locations are more aspirational rather than geographically feasible.
These concurrent narratives find each of our main characters burdened by the crushing realities that complement their plans for departure. While not all costs come in the form of money, the characters have to “pay up” in one way or another to get closer to their goals be it their time, dignity, emotional hardship or other strain that chips away at them a little bit at a time. The old saying posits that “money is the root of all evil,” and the more you see from life the more you begin to believe it. Mofe anchors our first half of the film as he diligently works away at his thankless job, quietly biding time until he can purchase his less-than-authentic passport and start his new life. When tragedy unexpectedly hits close to home, itself seemingly caused by some cost-cutting measures, Mofe must navigate the labyrinth of costs that come with dying; morgues do not store bodies out of the goodness of their hearts, and funerals are often prohibitively expensive. As with Mandabi, the perils of political bureaucracy are exacerbated by familiar faces who can sense blood in the water and a payday on the horizon. There is very little justice in death.
Things are not much better for Rosa, who works numerous different jobs to secure enough cash to buy her way to a new life for herself and her school-aged pregnant sister, Grace (Cynthia Ebijie). First she must navigate the complicated road of immigration bureaucracy that leads her to some shady, off-the-books figures such as Aunty (Chioma Omeruah’s Mama Esther), whose ear-to-ear smile and willingness to help mask the weighty cost of her assistance. Things are not all bleak at first, as a chance encounter with a handsome Lebanese American tourist leads to a lighthearted romance that, in another film, would make for a palpable love story. Yet, even the best moments are clouded by Rosa’s place in society and the derision she faces from relying on others for financial stability. Whether it be the kindness of her boyfriend or the contemptible landlord who is open to other forms of payment, it seems as if Rosa has been let down by her country which ultimately reduces her down to a form of currency herself.
Although neither Mofe nor Rose ever meet in any official capacity, their stories are most assuredly two halves of a whole picture. The Esiri brothers make the confident choice to not force the connection between these characters, instead letting the audience understand that these two impactful narratives are only a couple in the sea of individuals residing in Lagos and dreaming of a better life in whatever form that means for them. The directors weave in moments throughout the narrative of radio broadcasts castigating the government officials for their perceived exorbitant salaries, as well as other hints that corruption runs rampant throughout the city. Even with this spotlight, this is far from a political takedown film. The thoughtful eye that these young directors turn towards their characters reveal a world of empathy and love for them which ultimately guides you away from the film. Everything is far perfect by the time the film ends, but you remain hopeful that one day things might be better.
Video Quality
Eyimofe comes to Blu-Ray in an AVC encoded transfer from 2K scan in 1.66:1 courtesy of The Criterion Collection featuring an appropriately gritty transfer which captures the 16mm roots of the film flawlessly. This presentation is quite gorgeous and offers a stable image quality throughout. The lo-fi nature of the film translates well on disc with most shots giving the movie a bit of extra character to match the location. The Esiri brothers capture some sumptuous scenery which really pops in high definition. Not only do the textural details render cleanly, but colors are suffused in a way that matches the aesthetic of the film. Colors especially pop when it comes to costumes from the red jumpsuit that Mofe has to wear at work to the purple funeral garb meant to signify royalty. There is no evidence of compression artifacts or other digital nuisances outside a very minor bit in the most dimly lit locations. Skin tones look natural throughout the runtime. I do not see how this disc could have been improved significantly without a 4K UHD Blu-Ray disc. It’s a really stunning transfer.
Audio Quality
The Blu-Ray disc comes with a DTS-HD Master Audio 5.1 track that is very active. The track really comes alive with the environmental sounds both in the outdoor material along with the ambiance of certain interiors. The musical cues and score are showcased impeccably here with an enveloping use of the surround speakers. The dialogue comes through crystal clear without ever being overpowered by the environmental effects or the music. The sound design is just as precisely thought-out as the on screen visuals with all of the sounds positioned just right in the mix. The environmental effects create a well-rounded soundscape filled with little nuances that do a nice job of transporting you to this setting. Activity in the low end is decent, but it mostly aids in providing texture to the world. This is a stellar audio presentation that brings the movie to life in a really fulfilling way. There are optional English subtitles provided.
Special Features
The Criterion Blu-Ray of Eyimofe (This Is My Desire) includes a foldout booklet featuring the essay “Floating Currencies” by writer and IRANTI founder Maryam Kazeem in which she provides a great amount of context and insight into the film that helps highlight the deeper themes on display. The on-disc special features are as follows:
- Arie and Chuko Esiri: A nearly 38-minute interview with directors Arie and Chuko Esiri moderated by filmmaker Bette Gordon filmed in 2022 in which the two discuss the pull of home as it relates to their creative pursuits, feeling like outsiders in the Lagos film scene, how location scouting impacted the narrative, the casting process, the deliberate framing and movement within the film, the costume and production design, and much more that is very enlightening.
- Melissa O. Adeyemo: A new 15-minute interview with producer Melissa O. Adeyemo recorded in 2021 in which she discusses her early influences, getting connected with Arie and Chuko Esiri, the qualities that they each offer on set as a creative force, how the funding came together for the film, the realities of filming in Lagos, the process of building their team, difficulties that arose during filming and more. This is a really fascinating look into the realities of creating a film.
- Deleted Scenes: Two scenes of unused material totaling five minutes are provided here featuring Mofe and Wisdom promoting their new business and Rosa calling Peter after having a brief interaction with Mofe. These scenes are provided with optional audio commentary from Arie and Chuko Esiri in which they discuss their reasons for cutting them from the final film.
- Short Films
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- Goose: A nine-minute short film from 2017 which stars Eyimofe actor Jacob Alexander as a single father and amateur fighter who learns that his profession may have some setbacks.
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- Besida: A nearly 12-minute short film from 2018 shot in Abraka, Nigeria which shows the complicated relationship between a brother and sister as he seeks to protect her from the inevitable.
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- Because Men In Silk Shirts On Lagos Nights: A four-minute short made in 2018 for the fashion brand Maki Oh which delves a bit into Afrofuturism.
- Trailer: The nearly two-minute trailer is provided here.
Final Thoughts
Eyimofe (This Is My Desire) is a tremendous directorial debut which taps into some incredibly poignant and heartbreaking themes of unfulfilled dreams and the struggle to better yourself. The distinct sense of place and cultural customs comes through with every frame thanks to the assured direction from the duo behind the camera. The film can be a tough watch at times, but you are left with a general feeling of hope whether that is a misguided notion or not. The Criterion Collection has released a fantastic new Blu-Ray with a top-notch A/V presentation and some special features that are not to be missed. While these filmmakers may not have a huge body of work to their name just yet, this debut leaves no doubt that they will be a force to be reckoned with for years to come. Highly Recommended
The Criterion Collection edition of Eyimofe (This Is My Desire) will be available to purchase on April 26, 2022 on Blu-Ray and DVD.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: The Criterion Collection has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
