All the Colours of the World Are Between Black and White

Saw this that the 2023 filmfestival Gand (Belgium). Very many things were un-said and thus implied, which is not always easy for us to grasp. Due to homosexuality being forbidden by law (14 years in prison, said the director during the Q&A), I can understand that some issues are not clearly outspoken, not even among friends. Important quote: "walls have ears", according to a neighbor, albeit that was about Ifeyinwa's frequent visits to Bambino, as she was promised to another man.

As a result, we, living in a more enlightened world, are forced to interpret on the fly. Apart from the "14 years in prison" rule written in the law, what we also not knew before being made aware of twice by demonstration, is the violence of a street mob when someone is deemed a criminal, even to the extent that petrol is poured over the would-be "perpetrator" and set on fire without any form of due process we are used to.

Positive in this movie is that we get an inside look in a society that has its taboos on things we take easily for granted. The risks are high when coming out. It may not always run smoothly here in the Western world, but it is infinitely more difficult in Nigeria with a 14-year-in-prison penalty, apart from street mobs that have their own system of "justice". Even when succeeding in avoiding street justice, I assume that life in prison is not easy either when someone is "officially" declared gay.

On the other hand, negative in this movie is that we must interpolate and outguess what is not being said but implied. It only works for those who are sensitive for the signs. It may thus feel a slow-burner for that reason. Luckily, I was a bit prepared by having read some reviews, thus knowing what the main subject was. A superficial and unprepared viewer won't even notice what the topic of interest is, and only see the one-sided romance between Ifeyinwa and Bambino. But still, I'm convinced I missed a lot of clues too.

According to the director, this movie has zero chance to get shown in Nigeria. For that reason, it might have been better to add some info for those outside Nigeria or other country with similar taboos. It prevents us from missing relevant clues and improve our experience.

Bambino is a motorcycle deliveryman in Lagos. He is often visited by Ifeyinwa, a young woman neighbor, who desires knowledge and raids his small library. She is rather hot on him, but he is unmoved. Meanwhile, her mother warns Bambino that her constant visits are creating gossip, since she is engaged to another man. (From the constant verbal battles of a neighboring couple, pre-arranged marriages are common.)

On one of his deliveries, he meets Bawa, the owner of the local betting shop, who has an interest in photography. Bawa convinces Bambino to take him to different parts f the city for photo shoots. Bawa gradually wants more than friendship, but Bambino is aware that this is a homophobic society, who also has quick vigilante "justice".

I saw this in-person at the Inside Out film festival, and after the screening 4 of us were still trying to decipher the film. One scene seemed to appear out of nowhere, and another had us confused over a weeping participant.

Despite the considerable social progress that the LGBTQ+ community has made in recent years, there are still some places around the world where the act of coming out is questionable and deeply troubling. In some cases, such a step raises serious issues about social acceptance, as well as self-preservation and legal ramifications. It may even prompt some individuals to doubt their genuine intuitive impulses about their natural inclinations just to be able to fit in. Such is the case in Nigeria, as depicted in the debut feature from writer-director Babatunde Apolowo, a Nigerian-born filmmaker based in the UK. In his first feature release, Apolowo tells the story of Bambino (Tope Tedela), a motorcycle deliveryman who meets and befriends Bawa (Riyo David), an aspiring photographer with whom he starts spending considerable time, a connection that carries implications greater than just friendship. However, given the country's social taboos and illegality considerations, as well as sustained pressure from Efeyinwa (Martha Ehinome Orhiere), a neighbor who wants to become Bambino's wife, the budding relationship between the two men remains at arm's length. Bambino has doubts about his own sexuality, while Bawa believes that he and his new companion are destined for something deeper and more meaningful. But will that happen? The film probes this question as the two men tenuously circle one another, trying to figure out what's next. Admittedly, the pacing here can be somewhat on the slow side at times, but that's understandable given the circumstances under which they're operating. But, by taking this approach, the filmmaker has an opportunity to present their story in a highly sensual way, one that creates ample sexual tension that's fittingly augmented by the picture's carefully framed shots, many of which allow the actors to convey tremendous depth of feeling merely with facial expressions and body language. The tone, message and style of filmmaking are all reminiscent of filmmaker Barry Jenkins's Oscar-winning best picture "Moonlight" (2016), a perspective that carries significant ramifications in a culture that often denies the very existence of gay individuals within its ranks. The film thereby provides a revelatory look into a segment of society that many don't recognize, understand or acknowledge. Like this film's American counterpart, however, it's imperative that viewers have patience with this one, giving it time to develop and emerge with a story that's heartfelt, eye-opening, and, above all, rewarding.