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The Return of Arinzo review – families who hate each othe...
Leslie Felpe · 2026-04-28 · via The Guardian

This Nigerian thriller unfolds mostly in the bustling city of Lagos but it makes excursions to Ghana and Tanzania and casts actors from all three countries, making for a diverse, textured tale that is thoroughly entertaining. That said, there are still plenty of imperfections, especially in the editing, and the acting ranges from professional and polished to amateur and awkward, so it’s a bit of a bumpy ride. Still, it is yet more evidence that the increasingly well-financed Nollywood industry can hold its own internationally, and grow audiences beyond Africa.

Even if a male character’s run for president is a major engine of the story, this is very much a female-centric film, encompassing women across several generations in an assortment of configurations, often far from harmonious. That comes across very clearly in an early scene in which we see bossy matriarch Aisha Williams (Mercy Aigbe), wife of aspiring politician Marcus Williams (William Benson), having a screaming match with her sister-in-law as members of the household look on aghast. A complicated character to say the least, Aisha can turn on the charm when she needs to, for example when her son, aspiring actor Mandla (Enioluwa Adeoluwa), brings home his fiancee Simisola (Prisca Lyimo) to meet the family. But as soon as Aisha meets Simisola’s aunt Bridget (Bimbo Akintola), a devout preacher, the hospitality spigot is abruptly turned off. By degrees, we learn that there’s a long history between the two older women who are connected through familiarity with Simisola’s birth mother Arinzo (played by director Iyabo Ojo) who everyone thought had died years ago.

While the storytelling is jittery and slapdash in places, the cinematography is stylish and crisp, full of umbral shadows and backlighting that add to the noir feel. And while the story is about particular families who hate each other, there is a strong sense of the wider social context through the many crowd scenes in the streets and in church, complete with drone shots that bolster the sense of place.