There is a compelling story at the heart of Eleko: Oba Esugbayi. The film dramatizes the life of Oba Eshugbayi Eleko, who ruled Lagos from 1901 to 1925 before being deposed by the British and exiled to Oyo. His resistance to colonial policies, including water taxation and land control, his alliance with Herbert Macaulay, and his eventual legal victory in London before returning in 1931, provide material rich with dramatic potential. The issue is not the story itself, but the film’s attempt to cover too much without the structure to support it.
Directed by Adebayo Tijani, Babatunde Kosoko, and Tunde Olaoye the film features a large ensemble led by Femi Branch as Oba Esugbayi, alongside Jide Kosoko, Sola Kosoko, Femi Adebayo, Saidi Balogun, Dele Odule, Yinka Quadri, Yemi Solade, Adebayo Salami, Jumoke Odetola, and Broda Shaggi, among others.
Femi Branch anchors the film with a performance that carries both authority and restraint. He embodies the weight of kingship with a presence that feels lived-in rather than performed. His movements, delivery, and stillness give the film a sense of grounding whenever it begins to drift. In many ways, he provides the emotional and dramatic centre the film otherwise struggles to maintain.
Set in early 20th-century Lagos under British colonial rule, the narrative attempts to capture both political resistance and the internal tensions within the society. Figures like Macaulay and J.K. Randle are positioned as part of a broader push for progress, while the film explores how resistance was often framed as opposition to development. The context is important, but the storytelling does not always give these threads enough space to develop meaningfully.
A major drawback is the sheer number of characters. New figures are introduced frequently, many appearing briefly before disappearing without impact. Well-known actors are used in roles that feel closer to cameos than fully realised parts. The casting creates the impression of scale, but not necessarily depth. In some cases, it feels like recognisability was prioritised over narrative function.
The film also struggles with cohesion. Subplots emerge and fade without proper setup or resolution. Political shifts, including changes in colonial leadership, happen abruptly with little context. While the pacing suggests an effort to keep the audience engaged, it ultimately creates gaps that weaken the narrative. A historical drama of this nature benefits from clarity and patience, both of which are uneven here.
There is also an overemphasis on celebrating Lagos. While the intention to inspire pride is clear, the film leans too heavily into it, at times telling the audience how to feel rather than allowing the story to evoke that response naturally. The result is a tone that occasionally feels forced instead of earned.
Comic relief is handled more effectively. Broda Shaggi delivers humour that provides needed breaks without disrupting the film’s tone. Afeez Aiyetoro (Saka), as an interpreter, also uses language and cultural misunderstandings to generate humour that lands more often than not.
The performances among the colonial characters are generally solid. The actor portraying Sir Walter Egerton conveys the rigidity and authority associated with colonial administration, presenting a composed and unyielding antagonist. However, some of the supporting guards come across as unintentionally comedic, which undercuts the tension in certain scenes.
On the technical side, costume and makeup show attention to detail, though not consistently. While most of the period wardrobe is convincing, certain elements like modern-looking footwear break immersion. The makeup work stands out in particular moments, especially in a hospital scene involving burn victims, where the effects are convincingly executed.
The film’s visual quality, however, is a noticeable limitation. For a story set over a century ago, the cinematography does little to transport the viewer into that period. The colour grading remains flat, lacking the texture or tone that could evoke a sense of history. While props like vintage cars help establish the setting, the overall visual presentation feels dated and undercuts the film’s ambition.
Structurally, the film leans heavily on dramatic tension to sustain interest. While this works in parts, it often masks deeper narrative issues. The result is a film that feels busy but not fully developed. By the end, it plays more like a sequence of historical events than a cohesive emotional journey.
Eleko: Oba Esugbayi is not without merit. It takes on an important piece of Nigerian history and attempts to bring it to a wider audience. Oba Eshugbayi’s resistance, his exile, and his eventual return are significant moments worth revisiting. However, the film would have benefited from a tighter focus, more disciplined storytelling, and stronger technical execution.
Release Date: March 20, 2026
Runtime: Approximately 2 hours
Streaming Service: None, Theatrical Release
Directed by: Adebayo Tijani, Babatunde Kosoko, and Tunde Olaoye]
Cast: Femi Branch, Jide Kosoko, Sola Kosoko, Femi Adebayo, Saidi Balogun, Dele Odule, Yinka Quadri, Broda Shaggi, and ensemble