Dammy Twitch’s “Call of My Life” Meditate on Love, Commitment, and Identity

From the introductory shots in Dammy Twitch‘s Call of My Life, a compendium of details announced itself like a familiar but distant friend. First, it tells you that this is going to be a well-shot and framed picture. The sonic landscape (from sound design to soundtrack) will inspire admiration. Importantly, the lead character, Soluchi (played by the incomparable Uzoamaka Power), with her quirky and character-defining outfits, stands out. Added to this is her expressive, blooming, and precise character. 

As a bubbly individual living in Lagos, she has disallowed the city from draining her joy and high-spirited nature. She smiles at random passersby and spins on the road as she trudges to work as a customer service agent. As a staff, she works with the jarring care and thoughtfulness not found in a Nigerian workplace, whilst dealing with the surveillance-inclined government of her supervisor (played by Samuel “Broda Shaggi” Animashaun Perry in his most reined in roles). As the only daughter to her parents, played by Nollywood veterans, Nkeh Owoh and Patience Ozokwor, she finds comfort in an emotionally-present family, accepting of her supposedly eccentric nature. As Kalu’s (Zubby Michael) partner, she’s one to celebrate events, unmindful of how trivial and inconsequential they appear. 

The introductory shots and opening scenes anchored themselves on introducing Soluchi, Kalu, Zimuso (her friend played by Beverly Osu), and the story world, which, despite its undeniable Lagos setting, holds hints of a different location courtesy of the production designer, Anita Ashiru. The romantic comedy follows Soluchi, a nerd, an expressive, and archetypal hopeless romantic, struggling in her relationship with Kalu, her avoidant and archetypal partner who prioritises material stability and provision over emotional stability. From their chats and conversations, the imbalance is clear: Soluchi is present in the relationship, Kalu is not. That dynamic shifts when a random work call puts Soluchi in touch with Eli (Andrew Bunting), who will be comfortable loving her in the language she speaks. What begins as a simple conversation gradually develops into something deeper, forcing her to confront her present relationship and reconsider a new one.

Andrew Bunting and Uzoamaka in “Call of My Life”

There’s a disarming beauty that the cinematography introduces into the film. Locations, landscape, and apartments are filmed with a pedantic focus that betrays Muhammad Atta Ahmed, the cinematographer’s possible obsession with the captured objects or a lengthy conversation with the writer, director, and production designer around framing and blocking. The auditory palette orchestrated by Cobhams Asuquo accentuates the unfolding romance, conflict, and audiences’ pull. The sound design and soundtracks invite and compel emotions and actions. It commands heart-opening laughter, unforced smile, and focused introspection as characters interact. Afolabi Olalekan’s editing is brilliant in understanding the emotional pace and rhythm of various scenes. The airport scene’s pacing and editing are deliberate, keeping the camera firmly in Soluchi and Eli’s perspective as they negotiate what comes next. Uche Uba’s costume design understands the identity of its characters. The garment choices give each character a visual sense and identity and establish their character. Soluchi’s costume presents her as unconventional and playful, revealing her identity. Kalu’s, as a businessman, are more functional than aesthetically pleasing. Eli’s clothes are functional with a touch of character and flair that subtly distinguishes him from Kalu. 

Call of My Life isn’t just the story of two individuals searching for love. It stands as an almost cosmic example of carving an identity for oneself in a world where cooperation dictates fashion and personal taste. It’s a study in self-preservation amidst the brutal uncertainties of being human.  Late in the film, when Kalu scorns and accuses Soluchi of being too available, her response wasn’t to shrink and metamorphose. Staying in the relationship doesn’t erase her lovely and expressive self. 

The writing is brilliant. What Uzoamaka Power avoids, with the writing, notably, is the familiar archetype of the self-diminishing woman. Through Soluchi’s interaction and romantic gesture towards Kalu, she upholds dignity throughout. Thus, we’re presented with the story of a Nigerian woman who is aware, confident, and comfortable with her self-serving choices. Her romantic gestures, rather than dismissing, nurture and feed her soul. There is this prevalent idea, feted by Kalu, that a woman’s role in a romantic relationship is passive. That, unmindful of her personality type, she should wait, quietly and graciously, for the man to initiate and arrive. 

Zubby Michael and Uzoamaka Power in “Call of My Life”

This idea suggests that a woman’s romantic identity, her desires and timelines, should be held in suspension until the man is ready to acknowledge them. This idea is dressed up as tradition and patience. But, as Soluchi shows, this thought drowns the emotional identity of expressive women. In her relationship and career, Soluchi is a woman who knows what she wants and feels the full weight of what she is missing — not because she is reckless or naive, but because she is present. Power is thoughtful to write her not as a woman waiting to be chosen, but as one actively reckoning with whether the person in front of her is worth choosing back.

The writing makes it intellectually limiting to reduce the love triangle amongst Sol, Eli, and Kalu to mere monetary motives. Yes, Kalu, the hardworking businessman, appears richer than Eli, who’s a successful news broadcaster. But the conversation isn’t about financial freedom but emotional availability and deep interest, however challenging it may appear, in what your partner finds joy and safety in. Kalu resents Soluchi’s interests and sees them as childish and unbefitting of an about-to-be-married woman. In contrast, everything Eli does is oriented around seeing and loving Sol in the language she keenly understands.