Revenge and Reckoning Intertwine in Controversial Drama “Penance”

There are always three sides to a story: Party A’s side, Party B’s side, and the truth. The truth is always hard to figure out in the game of “he said, she said,” but it must be brought to light so that the innocents don’t get charged with crimes they know nothing of.

“Penance” pushes the bounds of morality and social perplexity by picking the audience’s brain in this sensitive game of “he said, she said.” In the film, rape accusations are levied against Mr Majek (Wale Ojo) by one of his officers named Alice (Uzoamaka Onuoha). Her story seems believable even to Detective Festus (Gregory Ojefua)- the police officer assigned to the case, and all evidence seems to paint Majek as the perpetrator. He is arrested and charged with the offence, despite the best efforts of his lawyer, Bobby (Nonso Bassey).

However, in a shocking plot twist, it turns out Majek is framed; he never raped Alice. He was a pawn in her twisted scheme of retribution. Her goal all along was to make him pay for the blood of her ex-roommate Tyra Abisogun, who died as a result of public humiliation after having an affair with Majek.

The topic of rape is a very sensitive one that requires intensive research from the filmmaker to ensure that it is depicted accurately and that the measures taken to punish the offenders err on the right side of the law. For the most part, “Penance” portrays what happens legally when a rape case is reported to the police station: the taking of the accuser and accused’s statements, determining if there is merit to the case; if there is, then interviewing persons of interest, investigating every lead, gathering of evidence at the locus criminis (scene of the crime), and finally arresting the perpetrator.

But the morality of the film leaves much to desired considering the effects of false rape accusations on genuine victims, the falsely accused person, and society at large: it makes it harder for victims to come forward with their story for fear of not being believed, it ruins the life, family, and career of the falsely accused, and it makes the society cast doubts on whether there truly is justice. This author wants to believe that the plot twist is a social commentary of what happens to the falsely accused and how society conducts their own trial of the alleged accused before the court does. Carrying out personal vendettas via fabricated rape stories should not be encouraged, even in film. And free legal advice: the bad conduct of a man does not prove his guilt.

“Penance” also addresses how society treats actual victims of rape. Stories abound of how women (who are, statistically, the victims of this heinous act) are re-traumatized with questions like: “What were you wearing on the day of the incident?” “Are you really a virgin?” “Are you sure you were raped?”

When Alice goes to report the incident, Detective Festus blatantly states that her outfit and the status of her virginity caused her ordeal. All these connote victim-blaming, and it is impressive that Nollywood calls it out for what it is.

Public humiliation and its effects are extensively treated in the film. When the news of Alice’s rape hits the airwaves, thanks to Bobby, it is immediately embraced with skepticism and comments from individuals who know nothing of the real story. This causes Alice to spiral, and she attempts to commit suicide by slitting her wrists.

Another variable “Penance” addresses is the need to seek therapy after a traumatic experience. Therapy may not always be encouraged in Nigerian society, but it is the first and major step towards healing. Alice seeks the help of a therapist to help her cope with her trauma; as she lays down all her troubles, she slowly gains her confidence back and confronts the man who allegedly raped her.

The performances in “Penance” are stellar. Onuoha is the real star of the show as she emotively delivers a performance worthy of accolades. It must not have been easy playing the victim, judge, and executor, but she effortlessly does this through her speeches and facial expressions. Ojefua adds a tinge of humor to the serious plot with his portrayal of a typical, pompous Nigerian police officer (sorry, Detective). Ojo, a respected Nollywood veteran, adds his wealth of experience to the narrative. His character may not have been a stellar individual, but Ojo makes what he is given work in a, well, usual way. This is not his best acting performance-not by a longshot-but he, again, works well with the script he is given.

The cinematography of the film is straightforward and unpretentious. It doesn’t rely on flashy camera movements or dramatic lighting but instead focuses on clean, natural framing that allows the story to unfold effortlessly. The shots feel intentional yet unobtrusive, creating a sense of realism. Overall, the cinematography serves the touchy story without drawing too much attention to itself, adding a layer of honesty to the film.

“Penance” may be controversial, but perhaps this, in some way, is supposed to be didactic. It delivers a compelling narrative but compromises its morality in the process.

Release Date: January 22, 2025

Runtime: 104 minutes

Streaming Service: Prime Video

Director: Awal Abdulfatai Rahmat

Cast: Wale Ojo, Uzoamaka Onuoha, Gregory Ojefua, Rachel Emem Isaac, and Nonso Bassey

TNR Scorecard: