As a powerful commentary on the state of justice and governance in Africa, Tejiri challenges us to confront the harsh realities of corruption and systemic failure.
By Joseph Jonathan
One of the greatest fears many Nigerians share is being in the wrong place at the wrong time. The fear of being caught up in a situation beyond their control haunts daily life — whether it’s facing arrest for fitting a vague description or simply being present during a random security sweep.
This fear reflects a deeper, disturbing reality where thousands find themselves wrongfully imprisoned and their lives put on hold by an unjust system. It is this sad reality that Tejiri, directed by Joshua Tsotso (Nigeria) and Deladem Duvi (Ghana) is based upon.
Written by Tsotso, Daphne Atsutse, and Amarachi Nwaozuzu, Tejiri examines various themes of corruption, justice, governance, power, resilience, and hope in the face of adversity. The plot revolves around the sudden and inexplicable disappearance of its titular character, Tejiri “Joojo” Turkson (Kofi Adu-Gyamfi), which leaves both his family and the wider community in shock, prompting national public outrage and a full-scale investigation into the matter.
Leading the investigation is Detective Silas Prempeh (Brian Angels), a sharp and determined officer whose talent for solving complex cases is well-known. However, as Prempeh digs deeper into Tejiri’s case, it becomes clear that he is not only up against time but also forces far beyond his control.
Unbeknownst to him, the investigation is entangled with powerful interests, and navigating the politics and corruption surrounding the case becomes just as challenging as finding Tejiri himself.
One thing which strikes me about the film is the non-linear narrative technique adopted in the storytelling. Through this technique, the events are presented out of chronological order. Rather than following a traditional linear narrative, the story is masterfully woven together through a series of flashbacks that seamlessly intertwine the past and present. Interestingly, most of these flashbacks adopt the non-participant observer flashback technique where a character witnesses past events without influencing or interacting with them.
Aside from the narrative technique, another striking aspect of the film is how satirical it is in the way it x-rays the hypocrisy of the government especially in the scenes where the Minister of Information grants interviews to the press. He assures the press of the government’s commitment to young people’s welfare and ensuring the safe return of the victim.
However, when questioned about the victim’s name, his startling ignorance is revealed and he instead remarks on how the ruling party was going to win the election. It exposes the government’s exploitative tactics, using Tejiri’s disappearance to bolster their image ahead of upcoming elections.
This reflects a familiar story across many African nations, where governments consistently prioritize political gain over the welfare of the people. In the lead-up to elections, grand promises are made, but after the votes are counted, those commitments are forgotten. Even more troubling is the way critical issues affecting citizens’ lives are not addressed decisively but become tools for media manipulation and political optics.
A vivid example is the Nigerian government’s response to the #EndSARS protests in 2020. The movement, which began as a call to end police brutality, was met with various promises by the government to reform the police and launch investigations into perpetrators. However, instead of addressing the root causes, the government deployed military forces to quell protests, arrested and detained protesters, and discredited protest leaders.
Tejiri paints a compelling picture of the power of community solidarity while highlighting the struggles of law enforcement officers caught in a web of power dynamics. It is Tejiri’s friend Naa (Priscilla Asante) who makes the video which goes viral, sparking public outrage to force the hand of the police to act on the matter.
The film also raises important questions about the lengths people will go to when one of their own goes missing and the unseen battles between those tasked with delivering justice and the powerful forces that seek to undermine it. Despite Detective Prempeh’s good intentions, the odds are stacked against him as he has to deal with having an incompetent and corrupt partner, as well as the men in power who have a special interest in the case.
As far as acting performances go, the cast of Tejiri provide capable performances, lacking depth but effectively conveying the emotional weight of the narrative. Adu-Gyamfi as Tejiri delivers a measured performance, occasionally finding moments of nuanced emotional resonance, but often struggling to sustain conviction, leaving some scenes feeling somewhat one-dimensional and underwhelming. Angels does well as Prempeh, admirably portraying both the calmness and frustrations of the calculated detective.
Tejiri is delivered in English, Pidgin, and Twi, the latter being a dialect of the Akan language spoken in Ghana and the Ivory Coast. While this multilingual approach adds to the film’s cultural authenticity and enriches the storytelling, it may pose a challenge for some viewers.
The absence of subtitles makes it difficult for non-speakers of Twi and Pidgin to fully grasp certain parts of the dialogue, potentially limiting the audience’s ability to follow key moments in the film. This language barrier could affect the overall viewing experience, especially for those unfamiliar with these languages.
Tejiri is a film that is timely and with themes that would resonate with audiences. As a powerful commentary on the state of justice and governance in Africa, it challenges us to confront the harsh realities of corruption and systemic failure. While some imperfections in its execution prevent it from being a perfect film, Tejiri remains a vital and unflinching portrayal of the human experience – one that demands attention, sparks essential conversations, and inspires hope for a better future.
Rating: 2/5
Tejiri is currently streaming on Showmax.
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.