‘Mami Wata’ Review – Folklore For The Modern Age

What do you believe in? Is it man? Woman? The Gods? Director C.J ‘Fiery’ Obasi asks these questions and more in his latest film, Mami Wata. A story about the oceanside village of Iyi, closed off from the rest of the world, lacking electricity, schools, or hospitals, and relying only on the water goddess, Mami Wata and her intermediary, Mama Efe. In Obasi’s film, the question of faith and power are challenged. Who has it? Who should have it? And can you always trust their intentions?

The film plays like classic African folklore, and Obasi and the team do everything to bring it to life. The very first thing you’ll notice about this film is its breathtaking monochromatic cinematography. Lilis Soares shoots this film in high-contrast black and white to create images that feel strikingly modern and distinctly traditional. The costuming by Bunmi Demilola highlights traditional Nigerian garb and makeup providing stunning visuals and rich, cultural pride. The sound design and folk score add to an experience that feels suspended from time, and yet, incredibly timely. Obasi conducts a world that is battling with ancient traditions in a modern age, and not just which will win out, but whether it should.

Mama Efe (Rita Edochie) is the revered intermediary between the people and the water goddess. The people gift Mama Efe with food and money, and she offers healing when she can. This tradition has worked for many years in Iyi, but whether Mama Efe has real power or not is brought into question when she fails to save the life of a child. First by her daughter, Zinwe (the effortlessly talented Uzoamaka Aniunoh), and then by disbeliever and power-hungry, Jabi (Kelechi Udegbe). From there, things get even more intense with the arrival of a rebel deserter named Jasper (Emeka Amakeze) and his budding relationship with Mama Efe’s other daughter, Prisca (Evelyne Ily Juhen).

Juhen is the star of the show as the adopted daughter of Mama Efe. One who believes her path is all her own, but has a deep love for her people and community. Juhen breathes immense power and depth into Prisca. She is faithful, capable, and fearless. As the story unfolds, Juhen is given so much to do. She goes from playful, to vulnerable, to powerful over the course of the film, and gives each turn the sincerity it requires. Another standout here is Emeka Amakeze as the former rebel soldier. Much of Jasper’s past is left a mystery, but Emeka captures the darkness and vulnerability he has perfectly in his expressions. Jasper, as a character, is a little confounding as he’s both protective, but also deeply violent. Emeka is brilliant as he deconstructs this character, going from confident soldier to delusional overlord. One might be frustrated by the lack of information we get about Jasper. We get very little backstory on him, and almost nothing about him is confirmed. Because much of the dominant narrative of this film happens in the latter half, this feels like a major missing piece of this story that could have been filled in. 

While this leaves a lot to be desired, it doesn’t take away from what is accomplished in the film, and the message Obasi is going for.  Is modernization inevitable? And who should lead the way? Or is there a reason for sticking to tradition? Can you be true to that tradition and still modernize? And still, who leads the way makes all the difference. 

With this, C.J Obasi brings Nigeria to the world cinema stage in a big way. Mami Wata is a visually and thematically rich drama depicting a clash of ideology, and tradition’s place in a modern world that’ll have you enraptured by its immense beauty and embraced by its thoughtful commentary.

Mami Wata is currently playing in select theaters courtesy of Dekanalog. 

[youtube https://www.youtube.com/watch?v=FPWBaKBYUfw]