Mama Efe (Rita Edochie) is the intermediary between the people of her village, Iyi, and their water goddess, Mami Wata. When a young boy dies, people question their revered matriarch and her connection to Mami Wata. Her devoted daughter Zinwe (Uzoamaka Aniunoh) and protege Prisca (Evelyne Ily Juhen) try to warn Mama Efe about the unrest among the people and the desire to introduce modern medicine to the people. While doubt continues to spread throughout the village, a rebel named Jasper (Emeka Amakeze) appears. With his arrival, the confrontation grows, and the people of Iyi are caught between tradition and modernity.
All the choices for this film were expertly made to tell its story in the most authentic way. The black-and-white cinematography is masterful. Lílis Soares is a magician with the camera. Her use of light and shadow amplifies the story penned by writer-director C.J. “Fiery” Obasi. With the help of West African Pidgin and a rhythmic, folk-style score, you’re transported to a place that seems almost outside of time. Things start to slow down in the second act, but that also seems deliberate. As the people of Iyi are in no hurry to be modernized, the film is in no hurry to get to the end. Despite this, Mami Wata is a beautiful film with great performances, bringing a piece of West African folklore to the front with precision and respect.
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