written by: Wale Davies and Akinola Davies Jr.
produced by: Rachel Dargavel and Funmbi Ogunbanwo
directed by:
rated: Akinola Davies Jr.
runtime: 93 min.
U.S. release date: February 6, 2026 (limited) and April 10, 2026 (MUBI)

“My Father’s Shadow” is the semi-autobiographical feature-length debut from British-Nigerian director Akinola Davies Jr, who co-wrote the screenplay with his brother, Wale Davies. It’s no wonder, considering how heartbreakingly personal the story set in 1993 Nigeria feels. That summer was a contentious one, as Major General Ibrahim Badamasi refused to accept the citizens’ overwhelming vote for the people’s champion, MKO Abiola, on June 24th. It was the country’s first democratic election since the 10-year-old military coup. On this same day, two young brothers were invited by their father to take a rare trip to Lagos. Since their father was often away for months at a time, this was a big deal.

Their journey becomes an eye-opening odyssey as the 2-hour drive from a small village proves wondrous yet chaotic, complicated by Nigeria’s petrol shortage at the time. Akin (Godwin Egbo) and Remi (Chibuike Marlevous Egbo) are excited to tag along with their father, Folarin (Sope Dirisu), which brings a certain amount of excitement and mystery. The boys are unaware of the combination of hope and anticipation in the air, as well as of their father’s behavior and the people they encounter along the way. They may not see the reports of a recent massacre that makes newspaper headlines, but they can sense that something is happening. Folarin and many like-minded men his age, especially those with children, are particularly interested in taking power back from the military.

As indicated by the film’s title, most of what we see in Nigeria at this time is viewed through the eyes of these young boys, and how they take in what they see is often filtered through their father’s perspective. Regardless of how often he’s been around, Folarin is a larger-than-life figure to the brothers, and they can barely comprehend a world without him. The main reason for the Lagos trip is that Folarin hasn’t been paid for his work over the last six months, and he’s setting out to collect the money in person.

Akin and Remi may not fully understand the “why” of the trip, but it’s nevertheless time with their father and time out of the house where they live with their mother. While both brothers have vivid imaginations and often spend time creating WWF matches with their paper-doll creations, just the idea of getting out of the house is enticing; a trip to the capital city with Dad fills Aki with excitement. He’s the youngest and most precious of the two, and sees the outing as an adventure. Aki also isn’t as resentful of his father’s long work absences as Remi is, which is usually the case with older siblings. He’s also more protective of their mother, which adds to his resentment toward Folarin, since he’s always upsetting her.

The two brothers are played by real-life brothers, and they share an undeniably realistic, lived-in relationship that makes their sibling dynamic convincing. At times playful and antagonistic toward each other, they convey a natural curiosity about their world and are often found studying the adults around them. That being said, the screenplay is well aware of how children can find the adult world alien.

Jermaine Edwards’ cinematography deliberately captures their open-hearted, albeit slightly confused, observations of this new world around them as they stay close to their father. Davies Jr. stays just as close to the young brothers. The storytelling always remains within the POV of the boys, never revealing anything beyond their understanding, adding emotional potency to the narrative.

Because Folarin is often not around, when he is, he is revered by his sons. Folarin is aware of this, and Dìrísù conveys a slight reticence about it, knowing the impact he has on the boys with each move and phrase. The actor’s performance is powerful: a right balance of tenderness and sweetness towards Aki and Remi, while also withholding the frustration that often leads to the kind of full-blown anger we see in cinematic fathers. Folarin is a commanding presence, but he’s also approachable with a certain ambiguous resignation under the surface.

During this one-day trip, Folarin manages to impart some key life lessons to the boys that they probably won’t pick up until they’re older. “The memories that cause you pain when someone leaves are the same ones that will comfort you later,” he tells the boys before letting them run loose in an empty amusement park run by an old friend. This location, like many others in “My Father’s Shadow” (a beached tanker and a tavern with secrets), is a place emptied of everything but the memory of what it once housed.

In Folarian, the Davies brothers have crafted a father of mythic proportions and Dìrísù, in a revelatory performance that grounds that fantasy with a realistically intense but quiet performance. He plays the father both as a romanticized figure, seen through the eyes of his boys, and as a man going through a tough time in his life, trying to juggle multiple responsibilities to his family, his work, and his country.

There are brief moments in “My Father’s Shadow” that indicate that Folarin has, or may still be, politically active. More than a couple of people address him as he walks around Lagos, and his boys can see the respect they give him and the leadership he effortlessly conveys.  It’s also obvious how women react to his confident and sexy demeanor. While much of Dìrísù’s choices suggest a man of measured movements, Folarian still evokes a variety of feelings and emotions that mostly simmer when his boys are so close to him. The casting of real-life brothers as Aki and Remi adds to the film’s authenticity. The Egbo brothers imbue the boys with effortless grace, an infectious vitality, and a touching tenderness.

Once the story ends, it’s easy to think back to the very beginning and be reminded of the fantastical elements present. In a voiceover, we hear one boy repeat, “In my dreams I will see you.” That line is perhaps more potent when we consider that Akinola and Wale Davies never knew their father, making this story even more meaningful. With or without that knowledge, “My Father’s Shadow” is an imaginative wish fulfillment that captures longing and devotion with a gentleness rarely seen between fathers and sons.

The film had its world premiere at last year’s Cannes Film Festival in the Un Certain Regard section, becoming the first Nigerian film to be selected for the festival’s Official Selection. It wound up winning the Special Mention for the Caméra d’Or. “My Father’s Shadow” has also received numerous awards and nominations, including a BAFTA Award for Outstanding Debut, a British Independent Film Award, and two Gotham Independent Film Awards. It was also selected as the UK’s entry for Best International Feature Film at this year’s Oscars, but it wasn’t nominated.

RATING: ***1/2