Between Lagos and Jos, Famous Orion Iraoya’s “Finding Nina” Struggles to Find Itself

Prime Video’s latest Nigerian film, Finding Nina, cultivates a restrained yet deliberate sense of artistry, using photography and the Northern Nigeria landscape as its thematic anchors. At the centre of the plot is its protagonist Jabir (JB), a seasoned street photographer whose journey drives the narrative. From fleeting childhood memories of a boy quietly observing his surroundings through his own lens while harboring a silent interest in a girl his age, to his later years as a confident, accomplished photographer, the film traces JB’s path across two Nigerian regions—Lagos in the South West and Jos, Plateau State in the North Central. These settings frame the protagonist’s emotional turmoil, identity crisis, and eventual journey toward cultural rediscovery.

Many contemporary Nollywood stories depict life in Lagos, the country’s economic and entertainment capital, capturing both its allure and its harsh realities. Productions like Christmas in Lagos and A Lagos Love Story, for instance, present a romanticised vision of the city, whereas titles such as Gangs of Lagos, King of Boys, and Baby Farm explore its darker underbelly. Finding Nina, however, treats Lagos as peripheral and shifts the main focus to Jos, another filmmaking hub and home to the historic Nigerian Film Institute, showcasing a bit of the city’s landscape and sociocultural realities.

Finding Nina is directed by Famous Orion Iraoya, previously credited as editor on titles such as Thin Line (2021), Loving Amanda (2022), Green: The Amazons (2022) and Mistakenly Yours (2024). The film stars Abdulazeem M. Ibrahim as Jabir (also JB), a seasoned Hausa photographer who returns to his hometown in Northern Nigeria, hoping to capture its beauty  and challenge the negative narratives about the region. Leaving behind Riayah (played by Tomi Ojo), a creative partner whose feelings for him remain unreciprocated, Jabir reconnects with his family, especially his uncle. There he meets Abdul (Paul Sambo), a curious and bold almajiri boy that reminds the creative of his younger self, and with whom he explores the environment. When he runs into and rekindles a relationship with the enigmatic Nina (Ijapari Ben-Hirki), a childhood love interest, he is plunged into further emotional conflict and has to make a difficult choice between Nina and Riayah. With about 94 minutes of running time, the film navigates romance, crushed expectations, disillusionment, nostalgia, and the process of self-discovery.

The romantic premise of Finding Nina feels frustratingly sloppy, with no genuine chemistry between the lovers or near-lovers. For a fairly successful and handsome young man who has spent many years in a cosmopolitan centre, JB’s obsession with a girl he last saw in his teenage years is implausible. Moreover, the fact that he loses interest shortly after a promising reunion with Nina, only to long for Riayah, whom he had previously ignored, undermines the decisiveness meant to define his character. Gbenga, an equally thriving young man played by Vine Olugu, competes for Riayah’s attention, but even his character, reduced to sparse screen time, becomes negligible as his amorous advances lead nowhere in particular. By undermining Gbenga, the film thwarts an opportunity to build a sturdy rivalry and create substantive tensions to threaten the emotionally confused JB.

Featuring a cast of mostly new-generation actors alongside a few veteran stars of Northern Nigerian origin, Finding Nina explores relatable themes in an effort to engage a diverse contemporary audience—yet its execution ultimately falls short. The characters lack depth,  the dialogue is banal and fails to elevate an  overwhelmingly weak premise. JB’s journey to the North to challenge negative stereotypes ironically reinforces them through   scenes of rowdy local markets, the pitiable, hungry-looking almajiri,  and an unfounded evening attack on JB that adds unnecessary tension. The silver linings are the local music, Hausa dialogue,  and fleeting ceremonial scenes, with an imposed fraction of the cityscape. Why doesn’t JB, a supposedly seasoned photographer, explore iconic landmarks like the Jos Wildlife Park or the National Museum?  The film  itself has no scenes set in institutions like the University of Jos or the National Film Institute, which could have added intellectual and cultural texture.

For a supposedly high-flying photographer, JB’s lack of curiosity undermines his character arc, and the film’s reluctance to fully engage with the cityscape compromises its message.  Ultimately, Finding Nina underutilizes its arsenal of talents and ideas, birthing a disingenuous narrative and leaving no real  heart-warming impressions.