Moses Inwang’s “Devil Is a Liar” Is A Tale of Manipulation, Betrayal and Missed Potential

Devil Is A Liar, a Netflix Nigerian film written by Tunde Babalola (writer of October 1, Funmilayo Ransome-Kuti, etc.) and directed by Moses Inwang (Alter Ego, Blood Vessel) opens with an evening scuffle between a man and a woman, after which the film drifts back eight years for the core of the narration. The film tells the story of Adaora Phillips, a woman in her late thirties and real estate mogul, whose desperation for marriage leads her to Jaiye Abiodun, a manipulative younger fashion entrepreneur that ends up swindling her. It navigates romance scams, domestic violence, emotional abuse, betrayal, revenge, and the dynamics of relationships between older women and younger men. With its strong sociocultural and emotional undertones, the premise holds immediate appeal.

As Devil Is A Liar immerses us in the swift-footed world of Adaora and Jaiye, the signs of their relationship’s impending collapse are unmistakable. The couple’s whirlwind courtship skips meaningful conversations about their compatibility, thoughts about childbirth and other marital concerns. From their meeting at the fashion store, where Jaiye claims he does not take no for an answer, to their first date where he abruptly switches the location without prior permission from the lady, and a scene where he records their sexual encounter, the film establishes a pattern of manipulation. This narrative choice is a double-edged sword for the audience: it prepares the audience for the inevitable collapse of the sour romance and false chivalry but it also gives away too much that it undercuts the suspense.

One of the film’s troubling moments stems from Adaora’s initial reactions to the discovery that Jaiye connived with a medical doctor to perform a hysterectomy on her without her consent. The aggrieved woman handles the matter rather rashly, resorting to a violent confrontation with Jaiye in a way that not only endangers his life but also strips her of freedom and truncates her existential trajectory. One would expect her or her family to pursue legal action against the medical facility where the procedure occurred, or even attempt to verify the spurious announcement of Jaiye’s death after he is supposedly flown abroad for further treatment. But this does not happen. Instead, the film portrays the family as ignorant, weak and helpless, stripping them of the power and influence their upper-middle-class status demands, an omission that compromises narrative authenticity and fails to resonate with the Nigerian audience.

Nse Ikpe-Etim embodies the role of Adaora, the successful female protagonist and narrator, injecting her character with the energy and nuances required for her role. Switching between different moods and emotions: worry to vulnerability, infatuation, disappointment, emotional trauma and vengefulness, she takes us through the cycle of the protagonist’s evolution. Her character experiences some growth, which comes at the expense of a plot that starts to feel rushed halfway into the film. Being a top-tier performer, Nse’s ability to approach characters with intensity has been recorded across a range of characters in different productions, including 4-4-44 and A Sunday Affair where she plays polar but dynamic roles. But here, with the spurious narrative trajectory of Devil Is A Liar, her enigma feels threatened.

James Gardiner’s portrayal of the duplicitous and scheming Jaiye is reminiscent of his role in Yemi Morafa’s The Party, a Netflix limited series that follows investigations into the murder of a thriving young businessman. In The Party, Gardiner plays a dubious colleague that is secretly responsible for the murder of the protagonist. Unlike his sparse appearance in The Party, the actor gets sufficient screen time as the deuteragonist of Devil Is A Liar, making it possible for viewers who have seen both productions to draw parallels and connect with his character. He brings a relatable confidence and arrogance to his playboy portrait in the latest film, one that is likable and detestable in one emotional breath; but his acting and body language often fails to cut deep into the character for profound expressions of anger and resentment. Another factor that undermines the plausibility of his character in Devil Is A Liar, though beyond the actor’s control, is the circumstance surrounding his faked death. Why would someone whose death has been staged choose to remain in the same country as his wife’s family and friends, fully aware that he could easily encounter them?

Also part of the cast are Nancy Isime, Akin Lewis, Tina Mba, Mercy Aigbe, ex-BBN housemate Erica Nlewedim and Tayo Faniran (known for his roles in Gangs of Lagos and Ada Omo Daddy), amongst others. Anna, Jaiye’s acclaimed cousin and business partner who is played by Erica Nlewedim, deprives the character of emotional range and delivers instead what seems like a timid, subdued interpretation. There are moments for incisive expressions of annoyance, worry and pretentiousness, but the actress jeopardizes them with a tastelessly plastic visage.

Faniran as Douglas, a dubious suitor that tries unsuccessfully to get along with Adaora, renders his lines with a rather lukewarm and disinterested disposition that is unlikely to convince a lady in a real-life context. One particularly cringe-worthy moment comes when he bumps into Adaora at a supermarket and, in a tone stripped of the necessary feigned remorse, suggests they discuss how their previous date went. A major twist involving one of Adaora’s step-sisters, Cheta, being treacherously linked to Jaiye’s grand scam would have added an interesting edge to the ending, especially considering he was at her marriage introduction. It would however not have saved the film entirely from its pitfalls. On paper, Devil Is A Liar presents a compelling emotional narrative that explores important themes of relationships, family, and marriage. In execution, however, the story suffers from uneven pacing, weak actor–character chemistry, and noticeable plot holes. These shortcomings blur Inwang’s directorial vision and diminish the impact of his filmography, especially when measured against his stronger works like Blood Vessel and Alter Ego.