From generation to generation, devastation from war, conflict, and colonial rule has forced wide-scale transformation, but down to the individuals, it festers a sense of hope and fear of a future that is unknown. That’s why Clarissa (2026), a retelling of Virginia Woolf’s Mrs Dalloway, works brilliantly in Nigeria, freshly after independence and amid political tension and wealth disparity. Mrs Dalloway based in post-WWI high society London, follows Clarissa as she prepares for a party she’s hosting where some of the guests are faces from her past. Clarissa mirrors this story, centring Lagos, Nigeria.
Twin brothers Arie and Chuko Esiri debut their second feature-length film after the positively received Nigerian drama, Eyimofe: This is my Desire (2020). Like the brothers themselves, Clarissa is a film that portrays a warm sense of family and belonging within Nigeria, and a genuine love for this country. Clarissa comes after heaps of period dramas and adaptations of literary classics that are simply white and British, a sentiment David Oyelowo resonated with, which intrigued him to take on this project. Transporting this story from London to Lagos rebirths this well-known story. While documenting the current Nigerian society and its changes, the story infuses flashbacks from Clarissa’s young life — Nigerian independence being the backdrop of this monumental period.
Through flashbacks and reflections of different characters, the film is slow, grounded and incredibly thought-provoking. Clarissa, played by Sophie Okonedo, experiences upper-echelon life in Lagos seemingly alone, though she surrounds herself with maids and the help; it’s a stark contrast to the life she once lived. The core characters Clarissa, Peter and Sally shape Clarissa’s formative years and are absent from her present life. Once, they were people who shared a romantic connection with Clarissa, a complex concoction of emotions that proved difficult to navigate. Yet the shared longing bleeds off the screen, creating a yearning for both emotional connections to thrive. Peter and Clarissa are a tale of lovers where one counterpart is unable to exist within the confines of the relationship. Sally and Clarissa tackle the complexities of being queer, especially in a society that expects the traditional marriage and children — ultimately the end goal.
While focusing on Clarissa, this film also tells the story of current soldiers in Nigeria and the fear that lurks beneath the preached sense of pride. A scene with the soldiers chanting “I am a soldier, that’s what I want to be” hauntingly echoed through my mind as I watched their lives turn towards the worst. Septimus, played by Fortune Nwafor, is a soldier who appears bright and full of life, charmingly pursuing a woman to be his wife. This takes a turn for the worse when his Commanding Officer is killed after rebelling and partaking in a shootout at the army base. A shot of the Commanding Officer sitting with dust settling above him, accompanied by his voiced concerns about the war, was simply heartbreaking. Not only is this a statement on the army and its devastating impacts on its troops, but there’s also a discussion of the mental health taboo within Nigerian and broadly African culture. Septimus refuses to accept that he has PTSD and brushes this off even when his wife tries to get him help. It’s something that is not afforded the opportunity to be treated because it doesn’t exist and would make him less of a man.
Nwafor gives the most memorable and moving performance of the cast, effectively portraying the mental anguish of having the ‘ideal’ life but feeling trapped by trauma. Watching his story unfold was a powerful part of this film because it broadcasts the sentiment that though Nigeria is free and has changed for the better, the future does not hold the utopia that was promised.
While the storytelling of the present day flourishes with Septimus’ story, it leaves a lot unsaid for our main characters. Peter reuniting with Clarissa provides a long-awaited conversation, yet Sally’s character is robbed of this opportunity. Especially with Sally, like Clarissa being a Nigerian woman and queer who has succumbed to societal standards, it felt like a conversation anticipated but never came.
Clarissa is a character study of individuals lost and isolated, but the main character is Nigeria. Filmed on 35mm, Lagos appears to be vibrant and alive, highlighting the diverse elements of the country. Those of the upper class are contrasted with those like Septimus struggling to get by. The culture and faith are a glaring presence in this film, while one of my favourite elements of this film is the music. Nigerian music is knowingly a strong part of their culture, so choosing to highlight this was important and worthwhile. Nigerian highlife is a core part of their childhood and older life — including the most pleasant sounds of saxophones and tender vocals. The party scenes feature some of the most beautiful shots in the film; dance and music offer an expression of love, yearning and intimacy. In the last scene, the older characters dance to Happy Day from Me to You by Sir Victor Uwaifo, which felt like a message to Nigeria. Though many of the characters reflect on how this isn’t the life they saw for themselves, there is still hope and longing for the best. In everything we do.
