The Weekend tells the story of Nikiya, an orphaned woman who, desperate for a sense of belonging, issues an ultimatum to her fiancé, Luc. She demands to meet his estranged family or threatens to end their relationship. Luc, hiding a dark secret about his family, reluctantly agrees. When Nikiya finally meets them, she is taken in by their seemingly perfect and welcoming nature. However, as the story unfolds, the warmth of Luc’s family begins to unravel, revealing the disturbing truth hidden beneath their idyllic exterior.
The Weekend is an ambitious attempt by Nollywood to delve into the horror genre. Still, it falls short of its potential due to its heavy reliance on Hollywood tropes and an overly complex narrative. The film’s premise, while intriguing, suffers from its inability to fully develop into a compelling and original story. What could have been a thrilling exploration of familial secrets and the lengths one will go to for love ends up feeling like a second-rate version of Jordan Peele’s Get Out, but without the same impact or depth.
One of the main issues with The Weekend is its dialogue. The Victorian-esque conversations between characters feel out of place in a modern Nigerian setting. This choice in dialogue style detracts from the authenticity of the story, making it difficult for the audience to fully immerse themselves in the film. It’s as if the filmmakers were trying too hard to create a sophisticated atmosphere, but in doing so, they lost the essence of what makes a story relatable and engaging.
The performances from the cast are a mixed bag. While there are moments where the actors shine, particularly Uzoamaka Aninuoh as Nikiya and Bucci Franklin as Luc, the overall performances feel forced and overly dramatic. The cast appears to be striving for that magical moment, but this often results in scenes that come off as pretentious rather than genuine. It’s a shame because the actors clearly have talent, but the script and direction don’t give them the room to deliver more nuanced performances. It was good seeing veterans like Keppy Ekpenyong-Bassey and Gloria Anozie in the film. Others in the cast include Meg Otanwa and Damilola Ogunsi.
Director Daniel Oriahi’s vision for the film seems to be caught between creating a horror movie that appeals to both seasoned horror fans and those new to the genre. Unfortunately, The Weekend doesn’t seem to possess what it takes to fully satisfy either group. For horror veterans, the scares are predictable and lack the tension necessary to keep them on the edge of their seats. Meanwhile, newcomers to the genre might find the film mildly entertaining, but it won’t leave a lasting impression.
One of the most significant flaws in The Weekend, which gets a 5.5/10, is its attempt to mimic Hollywood rather than embrace its Nigerian roots. The film’s aesthetic, pacing and even its story structure feel like they are trying too hard to be something they’re not. This results in a movie that feels disconnected from its setting and characters, making it difficult for the audience to connect with the story on an emotional level.
One thing I enjoyed about the movie is the outdoor daylight look. The color palette is mostly brown and muted, depicting what we normally see when we try to visualize our last visit to the village. However, the lighting of the night scenes in the movie didn’t give me the vibe I usually get from the Hollywood horror flicks it tried to imitate. Nevertheless, all of that can be overlooked since Nollywood is not there yet.
