“Say Who Die” is a Culturally Resonant Comedy

The Nigerian film landscape has produced a scanty number of culturally relevant comedic titles and roles. Think Aki and Pawpaw and its many sequels portrayed by Chinedu Ikedieze and Osita Iheme, John Okafor’s role as Mr. Ibu, Osuofia played by Nkem Owoh in Osuofia in London, the eponymous Jenifa played by Funke Akindele, Boy Alinco from the popular TV series Papa Ajasco and Company played by Abiodun Ayoyinka, Baba Sala in Moses Olaiya’s Mosebolatan, Femi Adebayo’s s role as Jelili, Olaniyi Afonja’s stint as Sanyeri. Comedy, as these titles show and prove, isn’t a rarity in the Nigerian film landscape. And these characters’ unique mannerisms —Boy Alinco’s eccentric behavior and clothing, Sanyeri’s penchant for entangling himself in ridiculous situations, Jenifa’s exaggerated English accent, show that the Nigerian film industry has a traceable history of comedic characters and titles. Paul Utomi’s Say Who Die currently streaming on Prime Video is an addiction to the list. 

Written by Lani Aisida, the film introduces twin sisters, Odion (Oiza Abu) and Omon (Meyi Abu) as they journey through family secrets and betrayal. For unknown reasons, their archetypal perfect father, Innocent (Abounce Fawole) is cheating on their mother, Martha (Evaezi Nimeyl) with Rolake (Eva Bankong). This supposed secret affair set the tone for a tragic situation involving Omon, the perfect twin. Having gotten a scholarship to study abroad, Omon is presented as the smart, focused and obedient twin while Odion, with her involvement with Jaja (Baaj Adebule), a street urchin, is framed as being erratic, stubborn and unambitious. Produced by Aisida, the film takes a dramatic turn when the innocent Omon gets involved with Abdul (Michael Afolarin), a drug peddler, to secure money for her studies. 

Utomi’s Say Who Die works for several reasons. One is its writer’s understanding of the comedy genre and Nigerian understanding of comedy. The script’s steadfastness to writing dialogues, characters and situations relatable to the average Nigerian is one of its strengths. This allowed for heartfelt and eruptive laughter. Another is its actor’s vulnerable performance. There are outright stupid moments when the characters jump into performance with swag. The mortuary scene where Odion tries retrieving swallowed cocaine from her dead twin and the following  funeral scene are examples of such moments of performance vulnerability. The major and supporting actors are deeply aware of the ridiculousness of their actions. But, like some of the above-mentioned comic characters, they enter the performance without holding back. 

Technically, the film is visually appealing. The cinematography, handled by Emmanuel Usen, is framed to capture the close-knit relationship of the twins’ family. Usen’s cinematography isn’t exhibitionist or overtly ambitious. Its movements are well timed to convey the varying emotional core of a scene. Take the confrontation scene between Innocent and Martha for instance.  The long shot paired with a close up intimate shot of their faces reveals the tense and brimming emotional divide between them. Another instance is the capturing of the twin’s room as a sort of haven however messy and crampy it appears. Edited by Bayo Aina, Say Who Die features appealing transitions and editing that matches the rhythmic pace of the story. 

The film casually deliberates on preferential treatment and its emotional effects. Odion, as the erratic twin, receives constant disapproval  from her mother. Although the film offers no reason to justify Innocent cheating, the film uses Rolake’s character to interrogate the illusion of a perfect man and family. The enduring popularity and memorability of Nollywood comedic characters like the ones mentioned above are anchored on reliability, exaggerated tropes, distinct physical and verbal comedy(Aki and Pawpaw, Baba Sala, Sanyeri and others),  one-dimensionalness and humorous attempt at social commentary. Utomi’s Say Who Die has markings of this and that’s what makes it watchable.