Iwo, is a gripping Yoruba drama directed by Muyiwa Ademola. Ademola brings to life the story of Imẹto, an ancient town steeped in gold, both literally and metaphorically. But this gold isn’t just a blessing, it’s a curse in disguise.
At its heart, Iwo isn’t just a story about greed and betrayal; it’s a mirror held up to society—asking tough questions about power, responsibility, and the cost of silence. Muyiwa Ademola weaves a tale that blends royal intrigue with human vulnerability, showing how even kings are prisoners of their own secrets.
Plot
In the prosperous town of Imẹto, the earth hides gold, but on the throne sits King Adejuwon, a monarch drunk on greed and devoid of conscience. The king and his ally, Babajirọ, hoard allocations from the government meant for the people, leaving even the chiefs to starve politically. Anyone who dares defy him faces a 50-year prison sentence.
The king, though wicked, has a soft spot for his son Adeyeye, who lives with Down syndrome. But this love is complicated, it’s laced with shame and secrecy. Entrusting his son to Babajirọ backfires, as the boy is abused until the king reclaims him.
Meanwhile, the king’s adopted son, Tadenikaro, and daughter Desiree enjoy palace privileges. Desiree’s friend, Olateju, catches Tadenikaro’s eye, but she isn’t impressed. Ironically, King Adejuwon himself becomes enamoured with Olatoju and marries her. Let’s just say the royal palace turned into an emotional warzone.
While the town simmers with unrest, the chiefs gather proof of the king’s corruption. When they finally bring it forward, Babajirọ is arrested, but the drama is far from over.
Tadenikaro, still in love with Olateju, gives in to passion. The two begin a secret affair. Frustrated by her husband’s coldness, Olateju agrees to poison the king. But just as she’s about to serve him his death, Adeyeye intervenes, a poetic twist, considering he’s been the one trying to save his father in recurring dreams.
The plot unravels fast. Olateju is disgraced and sent back to her family home. Tadenikaro is cursed and vanishes into exile. The palace implodes, but karma isn’t done yet. Wracked with shame and confronted by truth, Adejuwon takes his own life, leaving behind a legacy stained with greed and betrayal.
Cast
Iwo features amazing Nollywood actors like Wumi Olabimtan, Muyiwa Ademola, Akin Lewis, Binta Mogaji, Felicia, Iyabo Ogunsola, and Odunlade Ademola. Others include Dele Odule, Deji Aderemi, Adedimeji Lateef, Omowunmi Dada, and Alhaji Adepoju.
Language
The film is delivered primarily in Yoruba, enriched with cultural idioms and expressions that give the story its authentic depth.
Final take
Visually, Iwo comes across clean. The picture quality is appealing, and there’s a commendable effort in cinematography. However, the setting, from the village landscapes to the supposed “gold mine”, feels underwhelming and unconvincing. The mine, a key element of the plot, barely feels real, and that strips the story of its believability.
The film’s biggest flaw is its disjointed storytelling. There’s a lot happening at once, but little of it is coherent. Plotlines are introduced with no clear resolution. Characters appear and disappear with no weight. For instance, Lateef’s character only becomes relevant near the end, leaving the viewer wondering about his purpose all along. The chiefs and their rebellion against the king, though central to the narrative, are poorly developed and come off as forced and unplanned. There’s little build-up, no emotional stakes, and absolutely no payoff.
The writing is perhaps the weakest link. It comes off as rushed and amateurish, with scenes that feel like drama school improvisation rather than structured storytelling. One would expect tighter plotting and deeper character arcs given the caliber of some of the cast. Unfortunately, the direction suffers too, and that falls back on Muyiwa Ademola himself, who also plays a major role in the film. It’s difficult not to conclude that the script was built around available actors rather than a well-developed story.
When it comes to casting, the film is somewhat uneven. Babajirọ (played by Kareem Adepoju) delivered one of the most natural and compelling performances in the entire movie. He was effortlessly immersed in the role, bringing menace and realism without theatrics. Similarly, Akin Lewis delivered a believable portrayal, grounded and emotionally layered, as expected from a seasoned actor.
However, other casting choices were questionable. Performers like Omo Dada and Lateef Adedimeji were present, yet their characters had very little substance or impact. Their roles felt more like celebrity inserts than necessary parts of the story. They added nothing memorable and could have easily been played by lesser-known actors without changing the outcome.
