Like many Nollywood films, Penance boasts a thought-provoking premise, but unfortunately, that is where its promise ends, as it ultimately falls short of reaching its full potential.
By Joseph Jonathan
It is not uncommon for films to evoke strong emotions and thoughts in their audience. In fact, filmmakers often strive to leave a lasting impression. However, after watching Penance, directed by Awal Abdulfatai, my mind was left blank—not due to any profound impact, but because the film’s narrative meandered aimlessly, failing to deliver on its promising premise and themes.
Written by Abdulfatai, Penance wastes no time in setting its tone. The opening scene introduces us to Alice (Uzoamaka Onuoha) as she shares a traumatic secret with her sister: she has been raped. As the story unfolds, the alleged perpetrator is revealed to be none other than Mr. Majek (Wale Ojo), a high-powered executive at the organisation where Alice is completing her mandatory year of national service.
As the investigation into the rape allegations gains momentum, Majek’s reputation and career hang in the balance. However, as the truth begins to unravel, a complex web of power dynamics, deceit, and motives emerges, raising questions about the nature of truth and justice.
Rape is, undoubtedly, a sensitive and deeply personal issue that affects individuals and communities worldwide. Its depiction in film, therefore, requires a thoughtful and nuanced approach to avoid perpetuating harmful stereotypes or triggering vulnerable audiences. In tackling this complex and emotive subject, filmmakers walk a delicate tightrope between raising awareness and respecting the experiences of survivors.
Historically, films have struggled to depict rape in a way that is both realistic and respectful. The 1970s and 1980s, in particular, saw a surge in films that exploited rape as a plot device, often using it as a means to titillate or shock audiences.
For instance, a film like I Spit on Your Grave (1978) was heavily criticised for its prolonged, gratuitous, and exploitative portrayal of rape, so much so that film critic Roger Ebert called it “a vile bag of garbage”.
In Penance, rape is used as a plot device to underscore the themes of consequences and revenge. By utilising such a sensitive topic, the film creates a sense of tension and moral complexity, which is later upended by the revelation that Majek is falsely accused by Alice. This twist raises questions about the motivations behind Alice’s actions and the circumstances that led her to seek revenge against Majek.
As the truth unravels, it becomes clear that Alice’s accusation is not merely a malicious fabrication but rather a calculated response to Majek’s past wrongdoing, as he has a history of sexual harassment.
However, the use of rape as a plot device raises questions about its portrayal of this sensitive issue. On one hand, the twist revelation that Majek is falsely accused by Alice could be interpreted as a commentary on the consequences of past actions and the destructive power of revenge.
By subverting the audience’s expectations and challenging their assumptions, the film encourages a more nuanced understanding of the complexities involved.
This narrative choice also underscores the theme of moral ambiguity, highlighting the grey areas that exist between right and wrong. By presenting a scenario where the victim is not entirely innocent and the accused is not entirely guilty, the film prompts the audience to question their initial judgments and consider the motivations behind each character’s actions.
On the other hand, the use of false rape accusations as a plot device can be problematic, as it perpetuates a harmful stereotype that undermines the validity of real rape survivors’ experiences.
This trope can also be triggering for survivors who have faced scepticism or dismissal when reporting their own assaults. The concern is that, by depicting a false accusation, the film may have inadvertently reinforced damaging attitudes that blame victims or cast doubt on their testimonies. This could be particularly distressing for survivors who may already be hesitant to come forward due to fear of not being believed.
Despite these shortcomings, Penance does a fairly good job of exploring the societal attitudes that perpetuate rape culture. The film realistically depicts victim-blaming, as seen in the scene where Detective Festus suggests that Alice’s outfit may have contributed to the rape. This moment highlights the ways in which victims are often subjected to further trauma and scrutiny.
Moreover, the film touches on the phenomenon of public shaming, where victims are pilloried when their stories become public, and the devastating consequences this can have. However, these themes are relegated to a subplot, ultimately missing an opportunity for a more decisive and impactful exploration of these critical issues.
When it comes to the acting performances, Penance is a mixed bag. Onuoha shines as Alice, delivering a performance that is both nuanced and emotionally resonant. She brings depth and complexity to her character, particularly as someone who fabricates a rape accusation to bring a serial offender to justice.
Through her facial expressions, vocal tones, and body language, she effectively conveys Alice’s vulnerability, determination, and inner turmoil, making her a relatable and sympathetic figure despite her morally questionable actions.
Ojo, a veteran in the industry, has delivered stronger performances in the past, as his portrayal of Majek is largely forgettable. As a man whose family and business are threatened by a rape accusation, there is not enough emotional depth to effectively convey the inner turmoil he experiences.
As such, his character feels somewhat one-dimensional, lacking the complexity and emotional depth required to make his plight truly compelling. Consequently, Ojo’s performance comes across as uninspired, failing to elevate the character beyond the surface.
Adding a touch of comic relief to the otherwise weighty narrative is Gregory Ojefua as Detective Festus, who leads the investigation into the allegations. His character brings a bit of quirkiness and the arrogance often associated with plainclothes policemen, providing a welcome respite from the film’s predominantly sombre tone.
Ojefua’s portrayal of Detective Festus is well-timed, injecting a touch of humour without detracting from the gravity of the situation.
Like many Nollywood films, Penance boasts a thought-provoking premise, but unfortunately, that is where its promise ends, as it ultimately falls short of reaching its full potential. Despite what could have been an intriguing and compelling story, the film struggles to deliver a satisfying and impactful exploration of its themes, leaving viewers with a lingering sense of unfulfilled promise.
Rating: 2/5
Joseph Jonathan is a historian who seeks to understand how film shapes our cultural identity as a people. He believes that history is more about the future than the past. When he’s not writing about film, you can catch him listening to music or discussing politics. He tweets @JosieJp3.