AFRIFF 2025: Nwamaka Priscilla Chikezie’s “To Adaego With Love” is Deflated by Historical Erasure

The Nigerian military government, led by General Yakubu Gown, in 1970 launched a formal post-civil-war reconciliation policy under the “no victor, no vanquished” slogan. That slogan was formally coordinated in the comprehensive “3Rs” program: Reconciliation, Rehabilitation, and Reconstruction. This post-war policy was an attempt to set the tone for national cohesion, retribution and a sense of belonging to the Igbo people. The policy was supposed to address the physical, mental, financial and political scar the war caused the Igbo people. But, as it has been critiqued, that policy, while appearing magnanimous, effectively suppressed the grievances of the masses in the former Biafran region without fundamentally changing the power dynamics that caused the war. The post-war period saw an entrenchment of military rule and a stronger federal center, which concentrated immense economic and political power in the hands of the military class. The “peace” was maintained through force and a heavily militarized presence in the East, rather than through genuine socio-economic justice. 

This is the social, economic and political setting of Nwamaka Priscilla Chikezie’s film. Chikezie’s directorial feature debut is written and produced by Brenda Ugbukaa-Garuba. It features the post-Nigerian-civil war life of  Major Balarabe Alkali (Adam Garba), a promising officer sent to Enugu to carry out his superiors’ reconciliation order. An immediate responsibility, Major Balarabe also known as Bala enlists the help of Akin (Demi Banwo) and Samuel (Riyo David) to carry out this order. Adaego (Chisom Gabriella Agoawuike) teaches Mathematics at the Barracks much to his father, Chief Ezekwe (Bob-Manuel Udokwu) and family disapproval. The Nigerian Army erased their family and Adaego’s teaching at the barracks signals a familial  and tribal betrayal. Although Adaego’s family aren’t dictatorial with their disapproval, they constantly remind her of it. 

The Nigerian Army wants to reconcile with Chief Ezekwe’s community. As one of the respected chiefs and community members, the success of this rests on him. The community Priest, Father Bonaventure advocates for dialogues that tethers towards peaceful reconciliation. But, Chief Ezekwe, whose brother had been killed and livelihood erased during the war, isn’t keen about the endless dialogue and reconciliation. For Chief Ezekwe and the community members, reconciliation begins with justice and return of their stolen lands and properties. But, Major Bala is merely a puppet dancing to the dictates  of his puppeteers. Thus, unmindful of his goodwill, he can’t make this happen. This further entrenched To Adaego with Love’s conflict. Additionally, Adaego and Major Bala’s blooming romantic affair further add to this tension. 

To Adaego With Love is framed to ask pertinent questions it isn’t capable of articulating. When does reconciliation and peaceful reintegration mean for the Igbo people in practical terms? How do you reconcile with the orchestrator of your loss and demise? Where do the Igbo people throw the Nigerian civil war pain, hurt and trauma? These are some of the political questions the film and its characters, particularly Chief Ezekwe, fragmentarily ask Bala and by extension the Nigerian state. 

The question of identity is another tense question the film raises with Adaego and Bala’s relationship. Bala, as a military officer, is seen as an enemy of the Igbo people. His individual identity as a human gets lumped up with his identity as a Nigerian soldier. Fairly, as a Nigerian soldier, he obeys the dictates of his superiors. Adaego, as a Igbo woman, isn’t expected to get entangled with Bala. Part of the film dwells on Bala and Adaego’s internal conflict. How do they honor their ancestral and professional identities  while acknowledging their personal desires and love? Is it possible for two individuals from two opposing societies and ideologies to erase generational pain with love and devotion towards each other? This is another important question the film wants to dwell on. 

One of the most used words in To Adaego With Love is reconciliation. When Chief Ezekwe, Bala, Father Bonaventure, Akin aren’t uttering it at the community meeting, Adaego and her friend, Chiemelia are. Ugbukaa-Garuba’s script is written to reiterate this word and idea. Historically, the reconciliation and retribution dialogue were held. But, the film isn’t particularly keen on  showing what this reconciliation means . The community meetings are scenes staged just for further repetition of the word and have no immediate narrative and plot benefits. The reconciliation conversations conveniently only happen at that singular location. For a conversation that concerns the entire community, it’s strange that the community members aren’t, in small and large circles, having this same conversation. There are no scenes showing the community members discussing their private concerns and demands. None of this exists. This makes the film, as a Biafran reconciliation story, deflating. This becomes  laughable when at the third act the film conveniently abandons this reconciliation arc. 

The film’s decision to squarely focus on the romance between Adaego and Bala isn’t only plot deflating, it’s also cruel to the Biafran reconciliation story it hopes to spotlight. The dismissal of that major plot consists of historical erasure and artistic irresponsibility. The film has described itself as a historical romantic drama. Its  dismissal of its historical tension might have been forgivable if the film hadn’t constantly dwelled on  reconciliation.