“The Weekend”: A Nigerian Horror Thriller That Bites Deep

“The Weekend,” stands as a rare gem in the Nigerian thriller landscape, a genre that has been steadily establishing itself in Nollywood but rarely with this much precision.

Directed by Daniel Oriahi and written by Egbemawei Dimiyei Sammy, Vanessa Kanu, and Freddie O. Anyaegbunam Jr., the movie is a psychological thriller that’s less “The Black Book” and more “Get Out.” It essentially asks, “What if Jordan Peele’s 2017 hit was reimagined in a Nigerian context?” That’s as much as can be revealed without spoiling the experience (spoilers are unethical, TNR is not).

True to its meet-the-parents horror sub-genre, it takes “there’s one in every family” to extreme heights, rearranging it to “there’s every in one family.” And that family is the Chezetahs, a group with a clandestine appetite better seen than described.

Before we get to find out what that is,or even meet them at all, we are introduced to Luc Chezetah, played by Bucci Franklin. He chooses to live in the city and distances himself from his family for some reason the audience—and his fiancé, Nikiya (Uzoamaka Aniunoh)—struggle to find out for basically half the movie. Nikiya, orphaned and yearning for a family, urges Luc to introduce her to his family. Luc reluctantly agrees, returning home after a decade-long absence to spend what should be a weekend like any other, and just in time for his parents’ 50th anniversary celebration.

As Luc approaches his village, you’ll be forgiven for mistaking this movie for a Ghanaian production with names like “Kwasa,” “Kama,” and “Zeido,” and an indigenous dialect that could easily be Ghanaian.  While this matters little to the story, the last two names do.

At the party are Luc’s sister, Kama (Meg Otanwa) and her abusive boyfriend Zeido (James Gardiner). Tense air blows at every family gathering thereon, mostly due to conflicting reactions to Zeido’s attitude. Constantly reminding everyone how he’s a “Man of substance”—a phrase that becomes more loaded as the story unfolds—he’s everything and more that women detest in men. He’s eager to dig his grave and the movie grants him his wish at the hour mark. How? Let’s just say it’s satisfying, thanks in part to the seeds of disgust sowed by Gardiner’s star-of-the-show performance. However, it’s a grand revelation of a danger one could tell was afoot.

Oriahi’s direction shines in the film’s quieter moments. The non-verbal acting from Franklin and Aniunoh speaks volumes, with Nikiya’s growing unease palpable as she pieces together the dark puzzle surrounding her. The director’s “slow burn” approach may test some viewers’ patience, but it allows the characters and their relationships to develop naturally, making the eventual descent into horror all the more impactful.

When the blood does start to flow, “The Weekend” takes an interesting approach. Rather than relying on graphic violence, much of the brutality occurs off-screen, leaving the audience’s imagination to fill in the gruesome details. This restraint, whether born of budget constraints or artistic choice, adds to the psychological horror of the piece.

What truly sets “The Weekend” apart is its willingness to grapple with weighty themes. The film dives headfirst into taboo subjects like family dysfunction, the burden of tradition, and the dark underbelly of seemingly idyllic communities. While it risks reinforcing some stereotypes about rural African life for international audiences, the film’s nuanced approach to these issues elevates it beyond simple shock value.

The film’s score by Micheal Ogunlade deserves special mention, with chilling strings and drums ramping up the tension in key moments. Coupled with tight, claustrophobic cinematography, the technical elements work in harmony to create an atmosphere of mounting dread.

“The Weekend” isn’t without its flaws. The pacing may be too deliberate for some, and certain plot elements could have been further developed. However, these minor quibbles don’t detract from what is ultimately a bold and unsettling entry into the Nigerian thriller genre.

With “The Weekend,” Oriahi and his team have crafted a film that lingers long after the credits roll. It’s a movie that dares to ask uncomfortable questions about family, tradition, and the masks we wear in polite society. For those willing to stomach its darker moments, “The Weekend” offers a feast of psychological horror with a uniquely Nigerian flavor.

(Fair warning: Vegetarians might want to have a strong stomach before diving in.)

Release Date: August 30, 2024

Runtime: 1 hour and 57 minutes

Streaming Service: No, Cinematic.

Directed by: Daniel Oriahi

Cast: Uzoamaka Aniunoh, Bucci Franklin, Meg Otanwa, James Gardiner. Keppy Ekpeyong Bassey and Gloria Anomie-Young.