Bolanle Austen-Peters has surely opened the eyes of viewers to a new dimension in Nollywood, one which is yet to be perfected but is the start of a beautiful evolution. Collision Course is one of the first thought-provoking, emotional movies to address a social issue that plagues Nigeria as a whole.
A struggling artiste Mide Johnson is kidnapped by some “TARS” officers who torture him and rob him at gunpoint. This experience leaves him with PTSD, causing triggers on random encounters with the police. On the other hand is Officer Magnus, a father whose family lives in unpleasant conditions. Under this pressure and a victim of the Nigerian public service system, he unsuccessfully risks his kids’ school fees to pay his way into the creme de la creme “TARS” division of the Nigeria Police Force.
Collision Course. Trailer. Netflix Naija. Credit: AfricaonNetflix|YouTube
On the same night that Mide is booed off stage in front of his fiancée, Officer Magnus’ wife makes good on her threat to move out of the barrack with his kids. Both characters’ lives take an interesting turn when their paths cross at an illegal roadblock, the charged-up atmosphere sparks an event that changes everything.
All-in-all it’s a first of its kind and Bolanle Austen-Peters should be commended for giving it a shot.
One aspect of this movie that works like a well-oiled machine is the actors’ ability to reel viewers in with the swaying emotions. The acting is nothing short of stellar with Kelechi Udegbe (Magnus), Etim-Effiong (Mide Johnson) and Bamike “Bam-Bam” Olawunmi-Adenibuyan (Hannah) playing lead roles.
Delivery by lead actors was on 100%. Kelechi Udegbe’s portrayal of officer Magnus is engaging, watching him play good cop/bad cop slowly but surely captivates the audience. Mide’s character portrays the relatable struggles of many Nigerian youths who want to chase their passion. The real-life situation is delivered impeccably, creating an immensely emotional performance.
The biggest flop in the screenplay is the abrupt ending to the movie. It fell short. All that build-up in the movie, for what? The conclusion leaves viewers a bit dissatisfied as there is a gaping hole of an opportunity to properly address police brutality and on the other end, citizens’ hostility towards the police.
The best part of having a real-life event story botched in its movie equivalent is that other screenplay directors can pick up and fill in the gaps that were left open in pioneer pieces. This movie did not properly embody the weight of the “END SARS” protest, it seemed to be adopting the “few bad eggs” argument and quite openly avoids placing any responsibility on the Nigerian Police. It feels like an avoidance of the grievances that inspired the story in the first place, like the movie is a half-hearted attempt at tackling these issues head on.
With this movie’s release, Nollywood movies to come that would address social issues would hopefully produce worthier, well-rounded narratives.
Collision Course is proof that Nollywood has upped its storytelling game.
Although the movie falls short in its stance, it is a movie that appeals to its “sorosoke generation” viewers, has a one-on-one feel because it was a fore-front experience to those viewers.
This emotional roller coaster of a screenplay is sure to have you in your thoughts. From storytelling to the embodiment of the bigger message, this is a must-see for any/every one, check it out on Netflix.
Didi Dan-Asisah is an art enthusiast and critic. She lives in Lagos.
Ayodelé is a Lagos-based journalist and the Content and Editorial Coordinator at Meiza. All around the megacity, I am steering diverse lifestyle magazine audiences with ingenious hacks and insights that spur fast, informed decisions in their busy lives.
