A new, bone-crunching action film is set to bring the chaotic energy of Lagos's underworld to British screens. 'Son of the Soil', a scrappy revenge thriller starring and written by Razaaq Adoti, promises a bruising mix of Nollywood flair and gritty, 80s-style action.
From Hospital Gown to Havoc
The film wastes no time establishing its unflinching tone. Its protagonist, Zion, played by Adoti, is introduced in a memorably vulnerable state, staggering from an intensive-care ward into a bustling street market wearing nothing but a backless hospital gown. This former special forces soldier, dishonourably discharged and having served prison time in the US, is drawn back to Lagos by a desperate plea for help from his sister, Ronke (Sharon Rotimi).
Ronke, a hotel chambermaid, witnesses the murder of a sex worker by the outwardly respectable but secretly evil drug kingpin, Dr Baptiste (Philip Asaya). Tragically, Zion arrives too late. His sister is dead, framed as another victim of the lethal fentanyl cocktail known as 'Matrix', which Baptiste is circulating. With nothing left to lose, Zion decides to unleash his particular set of skills on the mean streets of his hometown.
A Shambolic World of Brutal Justice
Zion's brand of heroism is less about slick planning and more about walking obliviously into danger and enduring an absolute beating. Despite a plot that hinges on some character choices made for convenience and moments of ripe Nollywood acting, British-Chinese director Chee Keong Cheung crafts a surprisingly satisfying and fleet-footed ride.
The film embraces an 80s-action ethos, keeping characterisation lean. Zion's moral compass is signalled by his alliance with a cute street urchin sidekick, played by Ijelu Folajimi. His campaign gains serious momentum when he teams up with the albino ganglord Jagunlabi (Damilola Ogunsi), leading to an impressive onslaught of immolations, bludgeonings, and machete-gougings.
Direction with Gusto and Gangsta Lean
Cheung directs the carnage with palpable gusto, using colourful handheld camerawork that recalls the vibrancy of 'City of God'. His stylistic signature, however, is an overwhelming fondness for the Dutch angle—a tilted camera shot used so frequently it could be renamed the 'Nigerian angle' for this film. While this technique can become grating, it contributes to the movie's overall sense of disorientation and its undeniable, shambolic swagger.
'Son of the Soil' successfully channels Nollywood energy into a classic revenge narrative, set against the brutal, chaotic backdrop of Lagos. It is a film that prioritises bloody set pieces and raw atmosphere over nuanced storytelling, delivering a punchy, if occasionally clumsy, action experience.
The film arrives in UK cinemas from 5 December, offering audiences a visceral taste of Nigerian genre cinema with a bruising swagger all its own.
