Rob Munday

A period piece tackling modern themes, Timi Akindele-Ajani’s Guests transports it viewers to ‘70s London as we join a Nigerian couple welcoming an English colleague, and his partner, into their home for dinner. With its focus on dialogue and performance, Guests unfolds as a gripping domestic drama, confined to a single location yet echoing broader societal issues.

“I wanted to make a film that challenged our contemporary way of telling stories about racism”

Originally inspired by a drawing by Marie Harnett, titled Windows, Akindele-Ajani developed the narrative of Guests over several years, revealing that early drafts were more “raw and autobiographical” than the final version. Developing his script with Paida Mutonono (executive producer), Earletha Oppon and Morgan Faverty (both producers), the writer/director was able to shape his narrative into a “contemporary way of telling stories about racism”.

Explaining that he was tired of seeing narratives tackle racism by focusing on “the incident” or “the psychology of its perpetrators”, Akindele-Ajani instead wanted to explore the “aftershocks and how it affects us all”. A character-driven piece, the filmmaker admits he felt a “responsibility” to the lead players, Cecelia and Abiola, in his story and wanted to “do them justice” by making a film where these people felt real and relatable.

And it’s in this emotional investment where Guests truly shines. The cinematography of Stephen James Dunn (who also shot S/W feature Saintmaking) and the production design of Elena Muntoni (a regular collaborator with S/W favourite Charlotte Regan) are vital in drawing audiences into the world of Cecelia and Abiola, but it’s the dialogue and the performances that steal the show.

Ronke Adekoluejo and Michael Fatogun (R) star as the film’s central couple.

From the very beginning of the film, tensions simmer beneath the surface, gradually surfacing as the dinner party unfolds. With a shifting power dynamic among the main characters, which becomes increasingly captivating throughout the course of the evening, the actors do outstanding work in capturing the nuances of the situation. Abi Corbett and George Somner do stellar work as the titular invitees, but it’s the authenticity of Ronke Adekoluejo and Michael Fatogun’s relationship that elevates the film to another level.

The story Cecelia and Abiola tell of their first encounter is both heartfelt and powerful, with Fatogun’s change of pace, from light-hearted to serious, showcasing the depth of the performances and the script. However, the best is yet to come, and as both Fatogun and Adekoluejo deliver impassioned speeches, almost directly to camera, we’re left with plenty to consider at the film’s conclusion.

We could all do with taking a little of Cecilia’s advise and make sure to “shine your eye well well”, so we can see what’s really happening in the world.