Friendship is a beautiful thing. Even more so when personal and professional success is added to the mix, and each can revel in the growth of the other. But in the case of Oriyomi (Tope Laguda) and Ifelolu (Adunni Ade), friendship grew to the point where they thought anything was possible. Not in a good way, one particular, very ordinary obstacle has the duo trying to sidestep the issue. In What No One Knows, a life of its own results, and the duet gives us a painful lesson. You can’t outsmart the universe – no matter how invincible you think you are.
Directed and written by Tope Laguda, the 125 minute film set in Nigeria begins with the two main characters in a courtroom. More cryptic than dramatic, the ambiguous sentiment really lingers. Because as the friendship unfolds beautifully before us, we can’t stop wondering what could possibly have put such a pairing at a crossroads.
Nonetheless, the film travels backwards to the girls’ teenage years, and the plodding camera work (Sanmi Adeola), easy going score (Emeka Onuoha) and pace of the scenes set a tone. People in this Nigerian setting move at the actual speed of life and are present with each other. Young Oriyomi (Layo Laguda) and Young Ifelolu (Kelly Wekpe) certainly included, they evoke a playful innocence that allows us to pause the mystery of the opening drama.
It gets even further away when we see they are not carbon copies. Oriyomi is more serious and dreams of a houseful of stomping feet. In this, there’s a subtle charm in the misplaced ease that Laguda assigns to the reality of raising children and the self assuredness provides an avenue for Wekpe to fill the void.
Her character wants no part of her friend’s dream, and the self centeredness of the young actresses’ presentation is far from off-putting. We want to be young again and reap all the rewards that we are entitled to.
Of course, neither can help being occupied by school girl things. Yes boys – and when inevitable conflict arises, lost love resounds. Not with the boy in the middle, but between the two girls. Fortunately, the friendship perseveres, and the way they resolve the situation really cements the bond.
Time healing, Young Akinola (Abayomi Alvin) enters and together with Oriyomi a romance flowers. It’s an easy sell – especially on Alvin’s end. The actor presents with a kind, reserved affection that doesn’t just blanket Oriyomi. We either want him for our own or want to live up to his example.
So how can Oriyomi resist, but the affair really resonates because there is no pretentiousness. Minus scenes with fancy cars or exotic locations, the settings are down home, and the demonstrations of love are conveyed by simple touches and shared glances.
But circumstance and serendipity prompt a detour, and in the interim, Oriyomi is forced into adulthood. No choice, she continues to cultivate her synergy with Ifelolu.
They go into business together, achieve success, and with older actors taking over, the chemistry grows up. Laguda now emotes a measure of wisdom to temper the girlhood dreams of her character, while Ade still brings a streak of rebelliousness to her maturity.
The impetuousness not sustainable, Ifelolu cannot escape the charms of Efosa. Portrayed by Enyinna Nwigwe, the actor gives us a character that aligns perfectly with Ifelolu. His outgoing nature exudes a confidence that creates a comfort for those around him and comes with a matching tinge of playful deviousness.
As for Oriyomi, she gets back on track, and the older version of Akinola (Mofe Duncan) has grown too. He understands how fate can cruelly intervene. So the actor comes across as more cautious at the expense of the idealistic whims that drove him.
Not enough to derail the romance again, the plot seriously thickens anyway. In keeping, and since Oriyomi and Ifelolu have overcome everything in their path so far, they decide the discrepancy in question doesn’t stand a chance.
It’s just a matter of sticking together. Instead, the ante is dramatically upped, and the accompanying score puts the unraveling in a race that can only be lost. Dead on arrival, the performances make it clear that no court has the jurisdiction to fix this mess.
Of course, the judge rules and life goes on. Getting an actual glimpse of the aftermath, there’s a huge departure from the previous fallout, and it is perplexing. But a message comes across. Play the hand you’re dealt because a quick fix can never be as good as the life experience that got you here in the first place.
