The Legend of the Vagabond Queen of Lagos is less a traditional narrative film and more an act of cinematic resistance – raw, political, and fiercely rooted in lived experience. Directed by the Agbajowo Collective, a diverse coalition of first-time filmmakers from both Lagos’ slums and abroad, their cinematic ideas and lived perspectives are mashed together and distilled into a film that took seven years to develop. It carries all the striking marks of being based on real-life testimonies and headline-grabbing tribulations of forced evictions in Nigeria’s slums. Having experienced the film, the title feels strangely baiting, promising a mystified legend, when what the film offers is a salient testimonial.
At its heart is Jawu, a single mother living in a floating slum community threatened by demolition. When she stumbles upon a corrupt politician’s hidden fortune, her discovery sparks conflict not only with the oppressive forces closing in around her with machetes and bulldozers, but also within herself—as she must decide her place among her community. Tem Ami-Williams delivers a standout performance as Jawu, capturing both strength and vulnerability with nuance. Yet, stripped from the organic strings tying the narrative together, her character is heavily underdetermined.
There are moments that stir deep curiosity about the titular queen—her relationship with her parents and son, the naivety of a poor girl burdened with too much money, and spiritual connections that seem to follow her throughout the film. These moments are sprinkled with striking cinematographic portraits, but they never seem to add up to anything more than the assumptions of the promised premise. On one hand, The Legend of the Vagabond Queen of Lagos feels underdeveloped, with important plot movements occurring outside the characters’ control or awareness. On the other, it is overloaded with more than it could stuff in its one-hundred-minute runtime.
Visually, the film is breathtaking. Its use of natural light evokes impressionist paintings, while the cinematography captures both beauty and chaos, reflecting the duality of the world it portrays. Though the plot may feel fragmented or overly ambitious, the film is never shy in its purpose – to evoke sensations beyond traditional storytelling, serving as a powerful tool of political awakening and collective memory for an oppressed community. In little vignettes, the film shifts from the opulence of the corrupt to the banter of their instruments. It lingers on the carpeted wastes of demolitions and the unity that arises when the subjugated have had enough. These powerful images serve their purpose to great effect, delivering the film’s deeper mission as a bold, collaborative, and emotionally charged portrait of crisis and the fight against it.
As a narrative, however, the film sacrifices its broader scope in favour of more activist intentions. Though inspired by true events, it leans into heightened emotional stakes with its fictitious elements. Yet, when it comes to its intimate characters and plotlines, very little actually happens – and the little that does happen is overtly covered beneath long, drawn-out interludes that build only rudimentary inclinations. Some actions are perfectly illustrated; others are left to assumption, yet in both cases, the characters feel less so human and more like instruments of the story.
Ultimately, The Legend of the Vagabond Queen of Lagos is not about a singular heroine rising above adversity – or it would fall short – but more about the community around her and the resistance that survives in the face of bulldozers. While it may not deliver a conventionally satisfying cinematic arc, its impact lingers, especially knowing that many of those involved – both cast and crew – have lived through the very events depicted onscreen.
For foreign audiences, who will certainly make up the majority of the viewing and discussion for films like this, this will likely be described as an “important” and “illuminating” film. For Nigerians, the language, the beauty it carries, and the portrayal of its characters make it a welcome addition to Nollywood’s filmography. This isn’t just a film. It’s a message, a memory, and a movement.
But for someone drawn by the title and entirely hooked on the first few scenes of the film – expecting to see the grand awakening of a girl rising above the chaos to find her own voice shaped by the reverberations of her experiences – one can’t help but feel disappointed that what unfolds are the machinations of the collective spirit of the downtrodden experienced around a barely resilient girl.
The Legend of the Vagabond Queen of Lagos is screening at Unseen Cinema Nairobi until 29 April, and will also be screening at Nollywood Film Week in Paris.
Distribution is being handled by Rushlake Media.
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