Driftwood

Driftwood is the debut short from Temi Oluokun, who wrote, produced and directed this mystical piece. The story follows a young woman, Ama, on a journey to reconcile her ancestral heritage with her present identity, exploring Yoruba spirituality, self-discovery and cultural identity, as she comes face to face with a deific presence…

The film opens on a sprawling green landscape, featuring gorgeous shots from director of photography Liah Danquah. This opening sequence invites the audience in with images of wind blowing through the tall grass, natural waters flowing, and even capturing the local wildlife, all contributing toward establishing a deep tone of serenity that grounds the viewer in a natural world that pre-dates our own existence. This ambience is then promptly shattered with a sledge hammer, to brilliant dramaturgical effect, when cutting to the stark contrast of colourless and brutal modern architecture during the flashback scene. The tranquil and enchanting atmosphere captured by Oluokun and Danquah, mixed with a beautifully restrained score also by Oluokun, are the tonal backbone of this tale.

Unfortunately audiences may find their suspension of disbelief challenged as the film goes on. As viewers we are led to believe that Ama is travelling over a vast and barren land, an illusion that is broken quite harshly when members of the public can be spotted going about their day, walking through country paths in the background. This problem also extends to the flashback scene, with unmotivated editing that cuts seemingly at random, hindering the actors’ performances where it should be serving them. Matters of costume design such as Ama wearing a pristine white top despite the fact she has supposedly been trekking for miles, also rings untrue.

The absolute saving grace and conceptual hook of this piece however, lies in its fascinating exploration of Yoruba culture. Originating in south western Nigeria, the Yoruba religion features a complex pantheon of hundreds of divine intermediaries known as Orishas – one of which, Odara, being depicted here. Described as ‘the master of the crossroads’, Odara is traditionally referred to as male. Yet in this story the deity is depicted by Laura Lambo, an intriguing choice on behalf of the filmmakers – perhaps using a softer female energy to portray Odara’s more ‘human’ aspects in comparison to their mischievous and bullish prior representations.

Driftwood is a solid debut for filmmaker Temi Oluokun, featuring engrossing cinematography, a small but stand-out performance from Christina Oshunniya as Mother, and a captivating subject – exploring an ancient and mystical culture. I truly hope Oluokun continues her exploration of this topic. With some real highlights shining through the flaws, audiences would do well to keep a keen eye on what these exciting filmmakers do next!