Why is “Agbara Nla: The Return” so Successful?

The first day the Bamiloye brothers’ Agbara Nla: The Return arrived at Nigerian cinema, it made history with 12,134 admissions and a  ₦70M box-office earning. It is  now the biggest single-day preview gross ever recorded in West Africa. That the film will be this commercially successful isn’t strange. For one, the seeds of that success were sown when Mike Bamiloye heeded the call of spirit-led cinema in the 80s. Then, Bamiloye, through his travelling theatre, evangelised the gospel through stage plays visiting one church and the other. The stories and characters varied, but the central message is similar: salvation. The plays were successful within the Christian community that Mount Zion Film Production was founded. Stage plays are limited and videos travel faster than a touring stage troupe. The 1990 The Unprofitable Servant was the first film made after this transition. From then, it refined its craft perfecting the art and act of evangelical cinema. When the 1993 Agbara Nla was released, it expanded Bamiloye and Mount Zion Film Production’s already-growing fame beyond the confines of Pentecostal and Christian circles. Originally broadcast as a Yoruba-language television miniseries across Southwest Nigeria, it was so successful that an English translation, The Ultimate Power was released in 1994. This allowed the film to stretch beyond geographic and language barriers, exploding in popularity across Eastern and Northern Nigeria. When it transitioned to VHS tapes, it became a staple in millions of Nigerian households. 

The second seed of the Agbara Nla: The Return’s success lies in the Biblical command to evangelise. In Matthew 10:5–7, Jesus commissioned and commanded his followers to preach. After his resurrection, as recorded in Matthew 28:19–20 and Mark 16:15, Jesus lifted the cultural restrictions, commanding his followers to go everywhere: “Go into all the world and preach the gospel to all creation.” It’s this religious fidelity that born-again Christians carry, explains multiple factors that made the film successful.  The first MZFP film was sponsored by the general overseer of a church who wanted  to reach more people with the gospel. According to Elizabeth Olayiwola‘s paper, Nigerian Evangelical Film Genres: The Spectacle of the Spiritual, the the late Rev. Idowu Animashawun of World Hope Mission whom Bamiloye recently named sponsored the conversion of The Unprofitable Servant from stage to video, and it was transmitted on television. The existence of the film led to Agbara Nla and eventually this celebrated remake. Thus, the film’s success also lies in the support of the Christian community. “Understanding the piety would allow us greater insight into the dynamics of the production and consumption of evangelical videos. Most of those who consume these videos see the video as the word of God; those who act in these videos see themselves as enacting the word of God; and those who fund the production see themselves as promoting God’s word and work, ” Olayiwola argues in her paper. 

To understand the film’s success is to understand the success of colonialism. Religion has been intertwined with colonial expansion. Historically, this relationship is often summarized by historians as the Three Cs: Colonialism, Christianity, and Commerce (or colloquially, Gold, Glory, and God). Although the 15th-century Portuguese Catholic missionaries who visited the Benin and Warri kingdoms failed to establish a lasting Christian root, it was that time that Christianity sailed into Nigeria. The permanent establishment of the faith began in 1842 when liberated slaves returning from Sierra Leone, alongside the Church Missionary Society who brought Protestantism to Badagry and Abeokuta. Fueled by indigenous leaders like Bishop Samuel Ajayi Crowther, the religion quickly spread quickly. The success of this colonial expansion and the political recognition of Christianity also influenced the film’s success.  

Nostalgia is another factor. There’s an argument that audience members enjoy recognizable plots, characters, and stories. Beyond religious obligation, there were Nigerians whose decision to watch the film hinged on nostalgia. In fact, a reviewer has described the film as “the best piece of Nigerian ultimate nostalgic blockbuster” they have seen in a long time. Its nostalgic elements paired with modern touches and the marketing are factors. 

Importantly, the film’s success lies in its being objectively good.  When the film resumes, we meet the Aro Meta-backed (three witches) Isawuru (Bamiloye) conferring  with the English-speaking King Adetunji Oyindunjoye (David Kola Okeowo) of Muwonleru Kingdom. Isawuru demands an abominable act from the king who won’t bulge until the king gets killed. In present-day Ibadan, there’s Kolawaole (Damilola Mike Bamiloye) and his wife, Bose (Aanu Kolade Abiodun) whose story recalls the Biblical Jonah, the reluctant prophet. There are recognizable Biblical markings woven through the script and characters. When Bose admires material comforts despite being birthed by devout missionaries, the messages are palpable: the material world denies you closure from God and salvation, unmindful of your biological upbringing and parents, is personal; you independently find and strive for it. When Kola relinquishes his God-given mandate, Olaboye (Philip Olubakin) and Olatomi (Remilekun Mosiko) are swiftly introduced. The lesson: the Christian God will raise stones if you refuse to do his will. Despite these religious allusions and messages, the film, as a work of art isn’t devoid of cinematic pleasure. 

The script which is occasionally excessive isn’t untethered. The performances are impressively good. Bamiloye as Isawuru is good but Abidoun as Bose is the best. She commands the moral and psychological dilemma of her character with such grace and care. The film’s brilliance is anchored on the immersive soundtrack and visual world and metaphor. Woven by Temi Ami-Williams (Costume Designer), Abisoye Omotosho (Special Effects and Make Up), and Joy Kadiri (Production Designer), the film’s visual world communicates multiple messages. Muwonleru’s residents, due to their spiritual bondage are clothed in poverty-inspiring clothes. This suggests that a life without the Christian God is unfulfilling and poor. The editing allows for a seamless narrative anchored on the motive of evangelism. Thus, when one considers all these factors, it’s almost impossible that this film won’t be commercially successful.