Funke Akindele’s “Finding Me” Is A Discordant Symphony of Talents

The promotional poster for Finding Me proudly proclaims it comes “from the producers of the 3 biggest Nollywood blockbusters.” The film is produced by FAAN (Funke Ayotunde Akindele Network) and directed by Funke Akindele, with Isioma Osaje as co-director. Undeniably, Akindele is one of Nollywood’s most accomplished filmmakers and the three films the poster likely references—Everybody Loves Jenifa (2024), A Tribe Called Judah (2023), and Battle on Buka Street  (2022)—all shattered box office records in their respective years. But beyond this impressive association, Finding Me struggles to offer much else. Its biggest claim to fame might just be that—it comes from the team behind Nollywood’s highest-grossing hits.

The film opens with a fourth-wall-breaking monologue from Kola (Joseph Benjamin), who candidly admits to his infidelity and confesses that money was his true motivation for marrying Tinuke (portrayed by Funke Akindele with a naivety that borders on incredulity). We witness a disheartening sequence in which Tinuke repeatedly tries, and fails, to win back her unfaithful husband, all while navigating tensions with her father and brother. The production boasts an impressive ensemble of Nollywood stars who deliver commendable performances despite the film’s shortcomings. Femi Adebayo is particularly compelling as the resentful brother who covets his younger sister’s position. His accent and fashion choices perfectly embody the character’s contemptible nature. Transforming from his regal portrayal in Netflix’s Seven Doors (2024) to this role demonstrates remarkable versatility.

The supporting cast which consists of Omowunmi Dada, Omoni Oboli, Shaffy Bello, Sharon Ooja, Tina Mba, and others all bring their considerable talents to bear. Akindele herself delivers a convincing performance as the protagonist, but her efforts are ultimately undermined by the film’s fundamental flaw: an underdeveloped narrative that fails to capitalize on its stellar cast and promising premise.

The title evokes powerful themes of identity exploration, personal liberation, and self-actualization. Yet the film fundamentally betrays this premise, offering instead a hollow narrative where the protagonist, Tinuke, merely stumbles into a new relationship, not because of any meaningful journey of self-discovery, but simply as an escape from her husband’s obvious toxicity. Her path lacks the introspection and agency that the title suggests; her decisions feeling reactive rather than the result of genuine internal growth.

In typical Akindele fashion, the film leans on crowd-pleasing elements—action sequences, comedy beats, and police procedural moments—to momentarily energize the viewing experience. However, these familiar tropes cannot salvage the weakness at the core of the production. Given Akindele’s prolonged and enthusiastic promotion of Finding Me, audiences rightfully anticipated a more refined and fully realized cinematic experience. As a filmmaker, she has demonstrated a talent for crafting authentic narratives that resonate deeply with local audiences, evident in her successes with Jenifa and A Tribe Called Judah, which are arguably her best works.

However, her evolution as an executive producer reveals a concerning pattern: despite securing larger budgets, the quality of storytelling remains stagnant. This disconnect between increased resources and artistic growth suggests a prioritization of commercial viability over narrative sophistication. Stylistically, Finding Me lacks visual distinction, with cinematography that feels perfunctory rather than inspired. The film offers little in terms of creative framing or memorable visual moments that might elevate it beyond the ordinary.

Finding Me inadvertently underscores a persistent challenge in Nollywood: the struggle to merge individual brilliance into a cohesive artistic vision. The film boasts an impressive cast, with each actor excelling in isolation. For instance, Emeka Nwagbaraocha embodies the recklessness of a wayward gambler who calls out his sister; veteran Dele Odule commands the screen as a powerful business magnate; and Shaffy Bello infuses elegance and depth into her role as his wife. Yet, when these performances converge, the result is like an incoherent dish, premium ingredients thrown together without the binding force needed to create something satisfying. The talent is evident, but the film lacks the synergy to make strong individual moments into a compelling whole.

For casual filmmakers, Finding Me provides light entertainment. But from one of Nollywood’s most commercially successful filmmakers, expectations are far higher. Ironically, the film fails to embody its title, offering little in the way of self-discovery or finding itself. Instead, it becomes a collection of promising elements that never fully coalesce into the cinematic experience Akindele’s reputation suggests.