Olisa Eloka’s “Loose Cannon” Recalls The Trauma of the Nigerian Civil War

Loose Cannon is a historical short film that is set against the backdrop of one of the most cataclysmic events in post-colonial Nigeria, the Nigerian Civil War (1967-1970). Co-written with Kene Ibineme, co-produced and directed by Olisa Eloka, the production has a cast of six actors, which are Keezyto, Nkeoma Umudu, Dabeluchukwu Ibik, Rejoice Ozioko, Godwin Ogaga and Olisa Eloka, and spans twenty minutes. Its other producers are Ebuka Njoku (producer-director of Yahoo+, Uno: The F In Family) and Nkeoma Umudu. The characters mostly speak Igbo, a language that is native to the Eastern part of the country where the story is set, while the English language is sparsely used—such as in the radio voiceover.

The setting of the film is 1970 in Eastern Nigeria, two weeks after the end of the war, as the film succinctly highlights the pain, trauma and disillusionment around that period through the personal experience of the protagonist, Ijezie, a grieving young man and an ex-artilleryman who barely speaks throughout. Having lost his wife and daughter to the war, Ijezie, played by Keezyto, is often seen drinking and smoking as a coping mechanism while he maintains a perpetually morose disposition. His elder sister, Nkeoma, who seems to be the only beacon of hope left for Ijezie, tries to communicate with him, attempting to convince him to fire the cannons for a neighbor whose mother is deceased. We learn from the conversation between the siblings that Ijezie is the only man around who is experienced with the artillery, which gives us a clue as to how much he was involved in the war. We also learn that other negative effects of the war, such as hunger and poverty, persist among the so-called Biafrans.

Ijezie’s language is silence. His reticence contrasts sharply with Nkeoma’s willingness, though futile, to indulge in active verbal communication. For much of the film, both characters are an antithesis of each other: Ijezie is stuck in the dark and uneventful past while Nkeoma has decided to embrace the current reality and an uncertain future. But then, it appears the filmmaker deliberately weaponizes silence to create emotional depth and immerse the audience in the storytelling experience. The audience are not overfed with plot details as they figure out for themselves the loose ends of the protagonist’s life. While this “less is more” technique may seem precarious and experimental, the filmmaker handles it with the delicate attention it deserves.

Shot in black-and-white monochrome, with its cinematography credited to Omoregie Osakpolor, the film gives the feel of an environment that predates modern times, and creates room for the contemporary audience to connect with a past of historical significance. The film composer, Obinna Arya, provides the perfect sound of slow-paced instrumentals that reinforces the mood of grief and resignation. This is evident, for instance, in the opening scene where Ijezie, isolated, scans a picture of his slain family and breaks down in tears—a poignant moment aimed at inspiring sympathy for his predicament. Even though he does not express the profundity of his pain verbally, we easily catch the cues. The story ends with Ijezie eventually firing the cannons at a distance— the blare signifying a begrudging resolution to part with memories of the blighted past for a new, possibly nationalistic beginning.

Olisa Eloka is the writer of anticipated historical film 77: The FESTAC Conspiracy, directed by Izu Ojukwu, a sequel to ’76—which marks Eloka’s debut in mainstream cinema. The feature film, whose release date remains undisclosed, stars the likes of Ramsey Nouah, Rita Dominic, Ibinabo Fiberesima, Daniel K. Daniel and Afrobeat star Seun Kuti.

Loose Canon was first screened at the Umuofia Arts and Books Festival and will premiere at the 2024 edition of the Eastern Nigerian International Film Festival scheduled to hold from November 27th to 30th, 2024.