Dika Ofoma’s “Something Sweet” Emboldens Unconventional Romance

Something Sweet is the second short film in the recently released Zikoko Life anthology on YouTube. Written and directed by Dika Ofoma and produced by Blessing Uzzi, the film stars Michelle Dede as Ziora, a divorcée and single mother in her forties who falls in love with Leke (portrayed by Ogranya Jable Osai), a 28-year-old bachelor, in a society where such romance is perceived differently. With the lovers being financially independent, successful, highly educated, and emotionally mature, they demonstrate care in navigating the dynamics of their relationship and challenging sociocultural expectations.

Ziora demands respect for Leke from her recalcitrant son Jidenna (Oladozie Olawaiye), who finds the connection between his mother and Leke strange. When Leke accompanies Ziora to the market and the fabric trader regards him like a son, he pays for the fabric, which is an act of rebellion against disregard, disguised as chivalry. Upon meeting Ziora, Leke’s mother frowns at their relationship, but the determined son insists on following his heart. Scenarios like these uncover the traditional, one-dimensional conceptualization of romantic unions in Nigeria, where the man is expected to be older and more experienced than the woman—a sentiment that fits into the larger framework of the patriarchy.

Through urbane and lush affectionate scenes flavoured with a soft-playing soundtrack, Something Sweet coaxes and gently draws the attention of the audience towards its serious messages about relationships, marriag,e and womanhood. The film speaks to the silent struggles of women, particularly divorcées and single mothers, in Nigerian society, many of whom are usually marginalized, objectified, and judged for their past. Contrary to stereotypes, this romantic drama portrays how women are capable of rising above victimhood and having a fulfilled life and career. Ziora’s backstory exemplifies this. In a kitchen scene where she opens up to Leke, she recounts the circumstances leading to the separation from her ex-husband, from being a victim of a dysfunctional marriage and domestic abuse to negotiating her freedom from the emotional bondage, and coursing through life and business together with her young son.

Ultimately, Ofoma’s film proposes a standard for romantic relationships, one that is set within healthy boundaries and yet does not necessarily fit into what is considered the norm. It creates awareness around the subtle ways in which manipulation and misogyny are perpetrated, particularly within intimate relationships. However, rather than just being a diagnostic charade, the story yields a redemptive thrill, a brief but therapeutic show of armour that honours female autonomy. The journey to being at ease with ourselves, we learn, often involves being at odds with a society affixed to retrograde ideals.