Rob Munday
From Tolkien to Disney, the figure of the king has been a mainstay in storytelling since its inception. Often used as a symbol of power and responsibility, in Femi Oladigbolu’s captivating AfroFuturist short Oba, he uses this regal position to investigate themes of destiny and lineage, whilst also exploring his own journey as a filmmaker. A strikingly original film, in terms of both its narrative and its aesthetic, in Oba Oladigbolu transforms his directorial experience, from commercials and music videos, into an impressive debut short.
Opening with a shot of a dying king, in an unspecified world, Oba immediately immerses us in its universe through narrative intrigue and attention-grabbing production. As the story unfurls and our curiosity deepens, Oladigbolu crafts a mesmerising tale of an unlikely successor by maximising every directorial resource at his disposal. From meticulous costume design to strategic location choices, from nuanced performances to an atmospheric score, he meticulously explores every facet to ensure the full potential of his vision is realised.
“It was really important to get the right collaborators on board, from heads of departments to my post-production teams” – Oladigbolu discussing how he achieved the impressive aesthetic of Oba
“The film serves as a manifestation of the tales passed down to me since childhood”, states Oladigbolu as we discuss the inspiration behind Oba. The filmmaker adding that he believes his short is the result of “blending the richness of my Nigerian heritage, my imagination and my experience growing up in the UK”. However, while the writer/director was motivated to “craft a narrative with a distinct perspective”, he also recognised the importance of his film possessing “universal allure”. Something he achieves not only by creating a story centred around an “ordinary” young man thrust into greatness, but through the film’s appealing aesthetic and convincing world-building.
An ambitious production, where the director wanted his world to “feel expansive and big”, Oladigbolu credits the pre-production stage, in particular his work with creative producer Ray Okudzeto, as a vital step in achieving their goals. Working together to create an “82-page deck detailing every aspect of the film”, this expansive document would be a reference point for all the heads of department to ensure they were moving towards a shared goal. Shot over three days in East London, with the short then in post-production for over a month, the result is stunning. Oladigbolu cites Villeneuve’s Dune as source of inspiration for Oba and it’s to the director’s credit that this reference is evident in his work.
Samuel Adewunmi once again impresses with his imposing lead performance in Oba
While Oba serves as an impressive calling card for the filmmaker’s skills, the same holds true for the entire collaborative team involved. While many of Oladigbolu’s crew members will feature this short on their resumes, the standout contributor here is undoubtedly lead actor Samuel Adewunmi. Emerging as a rising star, Adewunmi transitioned from capturing attention in Shola Amoo’s feature debut, The Last Tree, to securing a BAFTA nomination for his role in the BBC drama You Don’t Know Me. Despite having only a handful of lines in Oba, the potency of Adewunmi’s performance is pivotal to the film’s success, his on-screen presence so compelling that it effortlessly convinces the audience of his character as the “chosen one.”
With Oba Oladigbolu’s first foray into narrative filmmaking, the filmmaker revealed, in conversation with Short of the Week, that he enjoyed both the “preparation and research” of the process and the time allowed to establish “a profound connection” with his actors. With this experience igniting a “genuine enthusiasm” in the director to create more narrative-driven projects, if this short serves as a glimpse into Oladigbolu’s future endeavours, we predict a promising and bright path ahead for the filmmaker.