REVIEW: ‘Onobiren,’ a film that understands women but forget the audience’s eyes

12 Apr 2026, 09:28 by Muhibat Sulaimon · TheCable Lifestyle

‘Onobiren‘, the movie produced and written by Laju Iren, was released at the cinema in March.

Its release during Women’s Month aligns perfectly with its title, ‘Onobiren: A Woman’s Story’, making it especially appealing to a female audience. The film centres on the experiences of women, exploring the realities, expectations, and limitations that come with being one.

After watching the film, it is impressive that it avoids being overly preachy despite the producer’s background as a pastor, while still clearly communicating its message about womanhood, stereotypes, endurance, resilience, and the strength found in female support systems.

SYNOPSIS

Follow Roli’s journey from Warri to Lagos when what begins as a familiar narrative quickly transforms when she chooses a different path, one driven by purpose, survival, and self-discovery; powered by fishing roots and the magic that happens when women support women.

THE STRONG POINTS OF THE FILM

The cast delivered strong performances, fully embodying their roles in a way that made their emotions believable and relatable. Bisola Aiyeola stood out, especially in her portrayal of a woman battling infertility. Her expressions alone conveyed the stress, frustration, and pain of her character, making it easy to connect with her journey.

Ruby Akubueze, as the lead, carried the film with a performance that was controlled rather than exaggerated, bringing depth to her character. Deyemi Okanlawon also impressed, portraying a male character who challenges the stereotype that infertility is solely a woman’s burden, doing so with convincing subtlety. Seeing Patience Ozokwor in a role similar to what she is known for added a sense of familiarity that worked well for the film.

The cultural authenticity in the film is particularly impressive. The rich use of the local Warri community setting, especially the language, adds depth to the story. The seamless transition between Itsekiri and pidgin English feels natural and unforced, reflecting how people in the community truly communicate. The film also does well in portraying the lifestyle of the people, from their fishing activities to their daily interactions and traditions, making the world feel lived-in and believable. The inclusion of real community elements further strengthens its authenticity, grounding the story in reality.

One of the standout aspects of Onobiren is its portrayal of women as layered, resilient, and central to the story. The film goes beyond token representation, showing female characters with distinct personalities, ambitions, and struggles. It highlights the importance of female solidarity, emphasising cooperation and support among women rather than the familiar narrative of rivalry.

The movie also addresses societal limitations and stereotypes women face, from assumptions that infertility is solely a woman’s burden to the belief that some roles or jobs are not meant for women. Alongside this, Onobiren underscores the role of love and support at home, particularly from parents. The nurturing guidance and encouragement Roli receives from her family, especially her father, show how crucial a loving home is in shaping resilience, confidence, and the ability to navigate life’s challenges.

By weaving together female solidarity, societal critique, and the power of parental support, ‘Onobiren’ presents a story where women are not only central to the narrative but also empowered by the relationships that sustain them.

The film also stands out for its ability to weave spirituality into the story without becoming preachy. Near the climax, when Roli and her team miraculously meet the contract’s demands despite sabotage, the film presents the moment in a way that suggests both divine intervention and sheer luck. This careful balance makes the approach to faith feel organic rather than didactic. By implying miracles instead of declaring them, it allows the story’s events to carry their own weight, adding depth while keeping the narrative grounded and relatable.

THE WEAK POINTS OF THE FILM

For a film centred on fishing and the lives of fisherwomen, Onobiren surprisingly underplays its most cinematic elements. Despite the story revolving around the river and the act of fishing, there’s not a single scene showing a fish being caught; the boats float, but the hands at work are largely absent.

The cinematography is basic, relying on simple observation rather than using the water, the catch, or the labour of the women to create visual tension or highlight the stakes. This choice makes the film feel more told than shown, missing a chance to fully immerse one in the day-to-day realities of its characters’ lives.

FINAL VERDICT

‘Onobiren’ gets a 6/10

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