Iwájú Review: A Decent Afro-futuristic Mini-Series

Iwájú is an original animated series that unfolds in a futuristic depiction of Lagos, Nigeria. This captivating coming-of-age story centres around Tola, a young girl hailing from an affluent island, and her closest friend, Kole, a self-educated tech savant. Together, they embark on a journey of self-discovery, unravelling the mysteries and perils concealed within their contrasting societal realms. Renowned Kugali filmmakers, including director Olufikayo Ziki Adeola, production designer Hamid Ibrahim, and cultural consultant Toluwalakin Olowofoyeku, guide viewers through the rich tapestry of Iwájú, characterised by its distinctive visual aesthetics and technological innovations inspired by the essence of Lagos. Produced under the stewardship of Disney Animation’s Christina Chen, the series boasts a screenplay penned by Adeola and Halima Hudson.

Plot

Iwájú kicks off with the lively celebration of OmoTola Abike Martins’ tenth birthday. Tola, a resident of a futuristic island, enjoys the perks of automation with her trusty robot sidekick, who takes care of everything from wardrobe choices to hairstyling.

Tunde Martins, a workaholic father, holds the distinction of being Nigeria’s sole Chief Technology Officer, employing blockchain and AI advancements to combat crime nationally. He’s dedicated to developing Otin, a Lizard robot by Greenwood Tech, to safeguard Tola and address criminal activities. However, activating Otin’s full potential, particularly its “Ija mode,” proves challenging, consistently leading to malfunction and entering a problematic circuit mode.

The narrative revolves around Lagos, Nigeria’s bustling epicentre of commerce, where the vibrant energy of the city pulses incessantly. However, amidst this vitality lurks the antagonist, Olabode, more commonly known as Bode Desousa, who preys on the children of affluent families residing on the Island. Bode’s vendetta stems from childhood trauma, as he and his mother endured humiliation while working for the “Islanders”. Driven by a desire for retribution, he seeks to dismantle their privileged lives, viewing their wealth as the root of their perceived superiority. As Tunde Martins endeavours to perfect Otin, Bode devises plans to abduct Tola.

In the classic coming-of-age story, Tola grows weary of her confined existence at home, frustrated by her father’s strict limitations on her exploration of the outside world. Seeking solace and adventure, she reaches out to Kole, her friend and fellow resident of Ajegunle. Tragically, Kole falls victim to Bode’s sabotage, coerced into betraying Tola and divulging her whereabouts. This betrayal ultimately leads to Tola’s abduction at the hands of Bode, plunging her into a harrowing ordeal.

With Kole’s help, Tunde managed to track down where Bode and his crew were holding Tola. However, their attempt to rescue her ended in their own capture. Bode then demanded access to Tunde’s company database, which held information on millionaires, in exchange for Tola’s release. While Tunde complied with Bode’s demands, Kole and Tola collaborated on a plan to take control of the situation. Kole utilised his technological skills to activate Otin’s Ija mode as part of their scheme to turn the tables.

Cast

Notable voice talents lending their voices to Iwájú include Simisola Gbadamosi as Tola Martins, Dayo Okeniyi as Tunde Martins, Femi Branch as Bode DeSousa, Siji Soetan as Kole , Weruche Opia as Otin and Bisola Aiyeola as Happiness. 

Language

While Iwájú presents a futuristic Lagos, it effectively incorporates the predominant Yoruba language spoken in the city, along with Nigerian pidgin and the slang that Nigerians are known for.

Summary

Iwájú, an Afro-futuristic mini-series, tackles the significant issue of class division as its central theme. The series dives into the challenges of poverty, showing the differences between how the rich and the poor live and digging into how their economic values clash with their moral beliefs.

The series is celebrated for its portrayal of African, particularly Nigerian, culture within a Disney production, adding a unique flavour to the storytelling. Despite being produced with slightly lower budgets compared to other Disney movies, Iwájú maintains the signature Disney Animation quality, especially evident in its character animation. 

Viewers appreciated the grounded nature of the narrative, which avoids relying on magic or fantastical elements, lending authenticity and realism to the storytelling.