The cinematic arm of the Slum Dwellers Worldwide and associates’ marketing campaign to show injustice wrought upon waterfront communities in Nigeria’s largest metropolis of Lagos, the Agbajowo Collective––a group of younger artists who’ve themselves endured the pressured evictions dedicated over the previous five-plus many years––has made good on an concept that started in 2018. The Legend of the Vagabond Queen of Lagos is the fruits of their pursuit to show the naysayers improper: that they may not solely make a movie about this ongoing tragedy, but additionally one which resonates past their very own borders. It’s the story of a lady (Temiloluwa Ami-Williams’ Jawu) confronted with the alternative to save lots of herself or shield her group.
As is the case in such tales of David-Goliath heroics, nonetheless, it’s probably not a alternative. Jawu’s group is her identification as a lot as it’s that of her neighbors. That is their birthplace they usually have no real interest in leaving––thus the authorities enlists paid thugs to scare them away underneath menace of demise whereas the bulldozers arrive to pave method for brand spanking new high-rise developments meant to line the pockets of corrupt politicians. Jawu is positioned to make a distinction as a result of she occurs upon one such politician (Adebowale Adedayo’s Abisoro) as he buries a bag of money earmarked to bankroll development whereas she’s returning dwelling from pleading responsible to a cost of, actually, being poor.
Jawu can take it for herself and supply for a new life to be shared together with her son Daniel (Kachi Okechukwu) exterior of these slums. She will use it to leverage Abisoro and demand justice. She will buy weapons to arm her group in a warfare in opposition to the thugs. The potentialities are infinite in a world the place survival is based on wealth. We see this reality in each the large-scale inequality of Lagos itself and the smaller-scale prejudices that lie in the interpersonal relationships of these affected by it. As a result of Jawu does determine to test-drive the cash earlier than any last selections are made. And regardless of shopping for costly garments first, a jeweler nonetheless refuses to just accept that somebody like her has cash worthy of their time.
It’s this state of affairs that permits Jawu to satisfy Happiness (Teniola Adelesi)––a lady used to having the kind of cash that opens doorways. And it’s by way of her that Jawu comes face-to-face with Abisoro, however her new wardrobe and firm make it so he doesn’t acknowledge her as “Sister J” from the slums. That doesn’t imply the cavalier angle he and his buddies possess doesn’t frighten her. Or that the potential of what that cash was presupposed to create doesn’t tempt her to skip city and by no means look again. However phrases stay hole, irrespective of how determined they make individuals––till somebody acts upon them. Solely when the violence turns into actual do the decisions thus dwindle; it’s solely then that the value of doing nothing will get revealed.
The collective of seven filmmakers do effectively to set the stage for quite a few transferring components all heading in direction of an inevitable confrontation. Reductively talking, it’s simply Jawu in opposition to Abisoro, however these behind either side are additionally human beings with the autonomy to show the tide. Amongst the thugs able to kill for cash is likely to be somebody reaching their breaking level. Amongst the group attempting to carry issues collectively is likely to be a selfless chief who understands cash––even when used to their benefit––is the root of the evil ruling their existence. Add the presence of a robed man and parrot haunting (or, maybe, inspiring) Jawu, and the highway to warfare turns into affected by each little act of greed and defiance.
We’re speaking about a determined group of many and an entitled group of few. It’s simple to evangelise unity and consider that power in numbers can overcome even the most egregious types of corruption; it’s tough to stay steadfast when the latter has machetes, machine weapons, and the immoral character vital to make use of them on harmless souls. Extra than simply a fictionalized account of true occasions centered upon Jawu’s option to battle can be an in-film illustration of The Legend of the Vagabond Queen of Lagos itself. It’s about the voice of the oppressed turning into the very weapon wanted to defeat tyranny. Make it so the tyrants can’t conceal behind their titles, so the world can not flip a blind eye.
As for the narrative: it’s an efficient intersection of political drama and public-service announcement. If some of the machinations used to push and pull Jawu into motion are handy, they make sense. Legend‘s second half merely strikes at a breakneck tempo that renders occasions much less about being authentically earned and extra about being essential to the conclusion. Jawu herself turns into a pawn to the finale on this method, exposition and introspection changed by inspiration. The finish is thus greater than simply her and Abisoro––it showcases a motion the place message surpasses character. Perhaps it can really feel much less impactful to cinephiles as a consequence, however the Agbajowo Collective by no means lied about the PSA being their fundamental ambition.
The Legend of the Vagabond Queen of Lagos premiered at the Toronto Worldwide Movie Pageant.
