#eyimofe

[supermodelwannabebaby]

eyimofe (this is my desire), 2020.

set in lagos, nigeria.

[vivian-bell]

Eyimofe (This Is My Desire) dir. Arie Esiri & Chuko Esiri

Cinematography by Arseni Khachaturan

[whileiamdying]

Eyimofe (This Is My Desire): Floating Currencies

By Maryam Kazeeme ESSAYS — APR 26, 2022

The film exists within the tradition of African cinema, to which cultural critic and filmmaker Manthia Diawara ascribes two central themes, “social realism and colonial confrontation,” as well as within the larger tradition of “world cinema” that Lúcia Nagib has described as “cinema of the world” that “has no center.” The Esiris have noted that their film is heavily influenced by the New Taiwan Cinema, which is evident in the confident austerity of the camera as we journey through Lagos, shown in a way that balances social-realist and modernist aesthetics and echoes Edward Yang’s Taipei Story. Eyimofe may not seem to have much in common with the gaudy commercial movies usually associated with Nollywood, as Nigeria’s film industry is popularly known, with their accelerated and complex plotlines and, most often, characters that are either good or evil. But in fact, the film must be seen as part of both the Nigerian film industry (which extends beyond this monolithic perception) and world cinema. The Esiris are committed to realism and novelistic detail, and they masterfully transpose plotlines, people, and places that could very well exist in a commercial Nollywood movie into a style of filmmaking whose deliberate pace demands that we witness the various currencies being exchanged in the world of the film—discern their logic, feel what they cost to earn and to spend. Money is Eyimofe’s true villain. Within twenty-four hours of receiving a passport (with the name Sanchez, signaling to viewers that Mofe’s papers are legal-adjacent) and the unexpected deaths of his sister, Precious, and young nephews due to “something to do with the generator,” Mofe must spend. He must pay to keep their bodies at the hospital while he looks for more money to arrange their release. He must pay for their funerals, without the help of his estranged father (the late Sadiq Daba, compellingly infuriating). He must pay a lawyer to retrieve funds from Precious’s bank account that she had planned to give him for his travel documents. Throughout all this, Mofe shows patience. “It’s okay,” he responds to the nurse who informs him indifferently that the bodies of his family will be disposed of if he doesn’t pay. “It’s not okay. It’s not right,” his friend Abu insists.

“The Esiris’ camera is quite literally interested in the big picture, in asking: What means are truly available to Mofe and Rosa to attain the currency of self-determination?”

In the second chapter of the film, we meet Rosa face-to-face. We’ve seen her before at a distance—collecting water at a public tap, as Mofe returned home from work the night his sister and nephews died—but wouldn’t have known who she was. Here, she smiles softly for the camera; her visage, tilted in front of a fluttering white sheet for her passport photo, resets our visual palette, infuses us with energy—we’re hopeful this chapter will be different. While Rosa is much younger than Mofe, there’s a parallel in their sibling-oriented family structures. Rosa works hard to provide for herself and her teenage sister, Grace (Cynthia Ebijie), whom we meet when she is about four months pregnant. Rosa may not be estranged from her mother, but a perturbed glance at Grace when their mother calls to check in suggests that she doesn’t factor into Rosa’s decisions about her own and her sister’s day-to-day lives, nor into her vision for their Italian future.

We encounter new shades of Lagos—vibrant and lush—through Rosa, as she attempts to shift in and out of her class status, and often falls flat. Italy is on Rosa’s mind as she washes a customer’s hair at a salon and places Long Island iced tea orders for people at the trendy bar where she also works, some of whom happen to be friends of hers on the prowl for men with money. Grace, on the other hand, often laid out on a purple leopard-print pillow on their shared bed, wants only to watch videos and dance with her best friend. She does not want to get her passport photo, or the medicine for the health of her baby that Rosa struggles to afford. “If you don’t start behaving yourself, I’ll send you back,” Rosa threatens, scolding Grace through a mirror in the dark, as a neighbor’s generator pounds away. “Sorry,” Grace mutters, the camera’s focus on her reminding us that she is just a child acting out, using the little power, and pout, she has to resist her older sister’s plans. In the same luxe apartment building where Mofe works as a nighttime security guard, we are introduced to Mama Esther (comedian and wedding emcee Chioma “Chigul” Omeruah, in one of her first dramatic roles) through her mercurial voice, before we see her simultaneously ebullient and menacing expression. “So, you want to go to Italy?” she asks the sisters, followed by a slew of questions about Grace’s pregnancy. While Mama Esther and Rosa discuss logistics, Grace’s eyes are fixed on Mama Esther’s young daughter, playing with makeup in the foyer. Is Grace contemplating what it would be like to sit on the floor and play with makeup with her own child, or by herself? The lingering gaze on the girl and Grace’s childlike wonder invite us to consider both. When Rosa meets Peter (Jacob Alexander), a handsome Lebanese American, Italy seems to falter slightly in her mind. Dates to the beach and to rooftop restaurants show her something unfamiliar. But Peter’s wealthy friends berate him for dating Rosa, often right to her face. At the beach, not far enough out of Rosa’s earshot, his arrogant friend Seyi (Tomiwa Edun) callously jokes about the plight of being poor. “My father is in the hospital, and they won’t treat him until they get paid; maybe you can help,” he imitates mockingly—creating an ugly echo as we recall Mofe’s recent tribulations at the hospital, and anticipating Rosa’s own, soon to follow. 

Rosa must also contend with the idea that she is currency herself, as we see in her fending off the overtures of her landlord, Mr. Vincent (also Mofe’s landlord). She acquiesces to his desire for affection in exchange for help with her rent, and then, to get Mr. Vincent to leave her alone, she resorts to asking Peter to pay her rent. Grace, on the other hand, through her body, is literal currency. The Esiri brothers use Grace’s story, quietly and harrowingly, to draw our attention to the interconnectedness of human trafficking and illegal migration. “I swear I’ll give you my baby,” Grace tells Mama Esther, her hand stretched over a satin pouch of money that will soon be accompanied by her pubic hair, passport photo, and blood to seal the oath in exchange for Italian visas for the sisters. And whether Rosa wants to be currency or not, it seems by the end of her chapter that she won’t be able to escape that fate. 

Rosa’s and Mofe’s parallel stories are spatially intertwined, with many of their days unfolding around the same places, yet the writing doesn’t oversell their connectedness. It is Lagos that brings them together, and the Esiris give the city the time and space to reveal itself to us. When Rosa comes home from work late at night and we hear the hum of a generator in the distance while she covers the sleeping Grace with a red mosquito net, it seems plausible that this is the same evening Precious and her children die, possibly even the same faulty generator beating away. These subtle pieces of visual and sonic evidence of the proximity of Mofe’s and Rosa’s lives fill us with a thrill of longing to see them actually connected, even if just within a frame.

And why are things so difficult for Rosa and Mofe? Who is responsible? The Esiri brothers give us clues. The earliest moments of “Spain” are inundated with broken objects (the roller at the factory, Mofe’s green lamp, a table-tennis paddle, Precious’s television). This is how we come to understand the immediate lives of our characters—they need to get things working, using whatever tools are accessible, and to believe that nothing is past the point of repair. We hear talk on the radio of government officials in Nigeria outearning their U.S. counterparts, yet responsibility for what is broken in Eyimofe has to be pieced together. “Generator? We are finished,” Mr. Vincent says when Mofe tells him how his sister and nephews died. But not once do the Esiris spell out for us exactly what happened with the generator. Later, when Wisdom, Mofe’s younger associate from the factory, mentions “dirty fuel” as they hover over the same generator, Mofe doesn’t know much about it, even though that dirty fuel—which Europe sells to Nigeria because we don’t yet refine our own oil—was likely the cause of the deaths in his family. But Eyimofe is perhaps ultimately uninterested in blame. The Esiris’ camera is quite literally interested in the big picture, in asking: What means are truly available to Mofe and Rosa to attain the currency of self-determination? In the film’s epilogue, we return to Mofe. After being fired for destroying the junction boxes that nearly electrocuted him, he has been able to build something with money his father eventually shared from Precious’s estate. We take leave of Mofe similarly to the way we met him—in uniform, but this time his own. Standing beneath a sign for his new electronics repair shop—named Precious Repairs—Mofe offers assistance to the family he has left. “I’ll be checking in from time to time,” he says on the phone to his stepmother, who has pleaded with him for his help, as he and Wisdom carry a generator into the shop. Slivers of light peek between the slats of the iron door. We’re left wondering what happened to Rosa and Grace, as the Esiri brothers, in a quite befittingly Nigerian sentiment, ask us to believe in the currency of hope.

[viral9ja]

Eyimofe (This Is My Desire) (2021) – Nollywood Movie

In Lagos, Nigeria, tragedy and fate intervene as two people try to better the lives of their families. VIDEO INFORMATION Filename: Eyimofe.This.Is.My.Desire.2021.540p.x265.AAC.[viral9ja.com ].mkv Filesize: 208.83 MB Duration: 1h 56min Imdb: https://www.imdb.com/title/tt10365870 Title: This Is My Desire Year: 2020 Type: Movie Country: Nigeria Language: English, Yoruba, Italian Director: Arie…

[anabelburrows]

eyimofe, 2020

[mistreseyimof]

I'm feeling dominant today,I wanna humiliate and degrade some desperate sluts like me kik eyimof

[kushalfinalyear]

ANTYESHTI CHAPTER 5: Research and script feedback

As mentioned, I and Max had come up with the idea, however, the inclusion of Indian mythology was something that I would take a lead on for obvious reasons. I went onto researching on stories and oral culture in India. Fortunately, my topic for my dissertation was also Indian mythology, hence, I used a lot of inspiration from my research in my dissertation and the script. Oliwia has done a phenomenal job in her research as well, therefore, the conversation about the script and Indian mythology stories went on much smoother. First off, after coming up with the stories, my job was to get mythological aspects in it. Now, when it came to incorporating mythology, Krishna was an obvious choice. My family has worshipped Krishna for as long as I can remember, and my grandmother especially has always been devoted to him. Their versatility made him the perfect figure to build our story around. The stories we chose—both the ones I grew up with and the ones we researched—aren’t just there for show. They act as metaphors, symbols, and even subtle critiques. Indian mythology is incredibly rich with themes of resilience, identity, and the constant battle between good and evil, which ties in beautifully with the core ideas in our film. Also, the choice of Krishna was perfect since his stories have a strong relationship with his mother Yashoda and our protagonist also has an important relationship with his mother. Further, we took inspiration from mythological stories and artwork, such as the Draupadi painting where she is sexually attacked by goons and Krishna's blessing saves her.

This symbolic trait of violence in our film works as an amazing symbolism. Now coming back to the narrative of the film. I and Oliwia went in further research of character development. I had to be part of this process since all our characters are Indian and get the traits of each character that it is authentic to an Indian background. This was a super fun process. Our narrative that is set in the UK changed quite a bit, at first, we were going to kill off our protagonist, however, after meeting with our tutor Paul, we agreed that if we go that route the audience would have no one to empathize with. I was reluctant at first but the more I thought about it, I agreed to that feedback. After several changes, we finally arrived at the fact that in the present we will just have the tailor shop which works as a shelter during the riots for all South Asian communities. I loved this addition because from the very start, I did not want this just to be an Indian story, we show it through an Indian perspective, but I always wanted this to resonate with the South Asian communities who were under attack this summer. For further research I and Oliwia met a Hindu professor in India to discuss potential stories we could use in mythology and just get script feedback. We got a lot of ideas from that meeting. I think the script is at an amazing place and with a few more drafts the script will be amazing.

For inspiration: A huge amount of research into Indian cinema, photography, and art has been integral in forming the groundwork of reference for Antyeshti’s visual style, supported by early 20th-century surrealist cinema and mid-century art films. Some of the inspirations on the development of our experimental imagery include paintings by Amrita Sher-Gil, Raghu Rai’s portrait photography and Meshes of the Afternoon (Deren, 1943). As for aesthetic references, our photographic look is informed by ‘Where Is My Friend’s House?’ (Kiarostami, 1987), ‘Duvidha’ (Kaul, 1973), ‘Eyimofe’ (Esiri Twins, 2021), ‘Phantom Thread’ (Anderson, 2017) and the work of Satyajit Ray.

[chimiepictures]

Eyimofe, 7/10

[vokpodcast]

VoK 750: The Movie Passport #10 – Nigerian Cinema

http://archive.org/download/the-movie-passport-10-nigerian-cinema/TheMoviePassport10_NigerianCinema.mp3 Ẹ Ǹlẹ́ o! Welcome to The Movie Passport, a podcast series about world cinema. In this episode, Duncan (Valkyrist) and Bina (Bina007) travel to the country of Nigeria to discuss the following films: 5:04 – Eyimofe / This Is My Desire (Arie Esiri and Chuko Esiri, 2020)26:51 – My Friend Fela /…

[nathancone]

A Year In Movies, 2022

Since 1999, I’ve logged every movie I’ve seen, in the theater, online, or at home on video. In 2022 I saw 84* movies, down 2 from 2021. Eleven of the movies were new releases viewed at the theater, another ten or so were big screen classics at TPR's Cinema Tuesdays, which returned to in-person screenings in 2022. My favorite new movie in the theater was a very traditionalist pick, "Top Gun: Maverick," was simply superior Hollywood entertainment. My favorite new-to-me movie from a previous year I discovered was Emilio Fernández's classic “Enamorada,” featuring a brilliant performance by Maria Felix.

If a title is hot linked, it's because I've written or podcasted about the film.

Here’s my full list from 2022, in chronological order. Thanks for reading!

Home Alone 2: Lost in New York Picnic at Hanging Rock Police Story Brother Bear Contact The Rescue Walk With Me            Poto and Cabengo Encanto X2 The Power of the Dog Summer of Soul The Worst Person in the World Turning Red Death on the Nile (2022) Saboteur Phi Slama Jama Jane Goodall: The Hope A Quiet Place Part II Everything Everywhere All At Once War of the Worlds (2005) Blackbeard’s Ghost Downton Abbey: A New Era Christine The Many Adventures of Winnie the Pooh Moneyball Casablanca Interstellar Field of Dreams Chip ‘n’ Dale: Rescue Rangers Say Amen, Somebody            Forrest Gump Doctor Strange in the Multiverse of Madness Lawrence of Arabia Top Gun The Lord of the Rings: The Fellowship of the Ring Star Trek Generations The Godfather            Devil in a Blue Dress Invasion of the Body Snatchers (1956) Pather Panchali Driving Miss Daisy Back to the Future Clueless Elvis Enamorada Top Gun: Maverick Malcolm X E.T. The Extra-Terrestrial Psycho Eyimofe: This Is My Desire Nope Filmworker Sherlock, Jr. Jurassic World Dominion Catch Me If You Can Licorice Pizza  Jackie Brown Mississippi Masala For Heaven’s Sake See How They Run Sneakers Slacker            The Lord of the Rings: The Two Towers Apollo 10 �� Kuroneko Batman (1989) Best in Show Close Encounters of the Third Kind (Special Edition) My Big Fat Greek Wedding Elvis Time After Time North By Northwest Inception Glass Onion Places in the Heart The Fabelmans On the Waterfront Avatar: The Way of Water Notting Hill Bridge of Spies Alien Spider-Man Chariots of Fire

*(asterisk because I counted "Elvis" twice)

[scenesandscreens]

Eyimofe (Eyimofe: This Is My Desire) (2020)

Directed by Arie Esiri & Chuko Esiri, Cinematography by Arseni Khachaturan

"It's good to show people that they were loved."

Visit the Eyimofe Website

[vivian-bell]

You have to promise to take care of my family. Grace has to go to a private school. And you'll open a shop for me where I can sell clothes.

Temiloluwa Ami-Williams as Rosa and Cynthia Ebijie as Grace in Eyimofe (This Is My Desire) (2020)

[pacingmusings]

Seen in 2021:

Eyimofe (Arie Esiri & Chuko Esiri), 2020

[fnipoli]

Eyimofe (This is my desire) (Arie & Chuko Esiri, 2020)

[afriupdatenews]

The Good People Of “Eyimofe”

The Good People Of “Eyimofe”

“This is Wisdom,” the titular character says in “Eyimofe,” the début feature co-directed by the Nigerian brothers Arie and Chuko Esiri. Mofe, as he is known, is an electrician at a printing press. He is introducing a new apprentice, whose name is Wisdom, to his co-workers. But “this is Wisdom”—he says it twice—resonates. It serves as a signal, one of many in this artful and luminous film, that we…

[briefwatch]

Nollywood Movie 'Eyimofe' Makes New Directors/New ...

Nollywood Movie ‘Eyimofe’ Makes New Directors/New …

The Nigerian movie Eyimofe has been selected for the 50th-anniversary edition of the New Directors/New Films Festival scheduled to take place in New York. Eyimofe has been globally recognized among 27 features and 11 short films at the film festival in Lincoln Center and the Museum of Modern Art’s virtual cinemas for it being a representation of the contemporary and envisaging the future of…