Director Babátúndé Lawal’s new film “Honeycomb” has emerged as a powerful commentary on power, survival, and moral decay. The film, which recently premiered at the Afropolis Festival, offers a haunting glimpse into a dystopian Nigeria of 2036, where the traditional structures of society have crumbled, and survival has become the only currency that matters.
A co-production between Arte House Studios and Meroestream, “Honeycomb” follows the harrowing journey of two former politicians seeking refuge from an anti-government militia known as the Anti-Government Coalition (AGC). Their desperate flight leads them to the doorstep of an enigmatic figure known only as “The Doctor,” portrayed with chilling precision by Chukwu Martin. What begins as an apparent haven quickly reveals itself as something far more sinister, as the line between hospitality and horror becomes increasingly blurred.
The film’s screenplay, crafted by Tobi Marho and Lawal, masterfully weaves together elements of dark humor and psychological tension to create a narrative that serves as both entertainment and stark social commentary. At its core, “Honeycomb” presents a bitter irony: those who once wielded power with impunity now find themselves at the mercy of the very sort of people they might have previously dismissed.
One of the film’s most powerful moments unfolds during a seemingly ordinary dinner scene, where The Doctor’s wife, played with subtle menace by Isoken Aruede, serves their guests a generous meal. When the politicians offer payment, her response – “money has no value here anymore” – serves as a chilling reminder of how completely their world has transformed. This simple exchange encapsulates the film’s central theme: in a broken society, traditional power structures become meaningless.
The performances throughout “Honeycomb” are notably strong, with each actor bringing depth to their role. Martin’s portrayal of The Doctor is particularly noteworthy, as he effortlessly shifts between warm hospitality and calculating menace. Aruede’s performance as The Doctor’s wife is equally compelling, bringing a quiet intensity to her role that suggests years of hardened survival. Molayo Ogidan delivers a standout performance as The Doctor’s daughter, her apparent innocence masking something far more disturbing.
The film’s visual approach, handled by cinematographers Oluwayinka Akintunde and Damilola Abiodun-Olabiyi, employs a restrained style that enhances the story’s impact. The careful framing creates a claustrophobic atmosphere within The Doctor’s home, while exterior shots emphasize the desolate wasteland that Nigeria has become. This contrast serves to heighten the tension and underline the characters’ desperate circumstances.
While the film largely succeeds in its ambitious vision, it’s not without its minor flaws. The opening sequences, while effective in establishing the atmosphere, occasionally move at a deliberate pace that might test some viewers’ patience. Additionally, while The Doctor’s family serves as a fascinating element of the story, their motivations and backstory remain somewhat opaque, leaving some narrative threads tantalizingly unexplored.
Co-producer Desmond Ekunwe and Lawal have created a world that feels unnervingly plausible, grounding their speculative fiction in recognizable settings and familiar dynamics. The transformation of a prosperous suburb into a wasteland, and a family home into a den of hidden horrors, speaks to the film’s ability to make its dystopian vision feel uncomfortably close to reality.
Ben McAnthony’s portrayal of Emeka, one of the fleeing politicians, traces a compelling arc from arrogance to terror, though some might argue that both political characters could have benefited from deeper character development. However, this relative simplicity in their characterization serves the film’s broader themes about power and accountability.
“Honeycomb” stands as more than just another entry in the dystopian genre. It serves as a powerful warning about the potential consequences of unchecked corruption and social inequality. Through its dark lens, the film forces audiences to confront uncomfortable questions about power, justice, and survival in a world where traditional moral frameworks have collapsed.
As Nigeria’s film industry continues to evolve and mature, “Honeycomb” represents a significant step forward in terms of both storytelling ambition and technical execution. It demonstrates that Nigerian cinema can tackle complex social issues while delivering compelling narrative entertainment. The film’s premiere at the Afropolis Festival marks it as a significant achievement in African cinema, one that suggests exciting possibilities for the future of Nigerian filmmaking.
In the end, “Honeycomb” succeeds in creating an unforgettable vision of a possible future that serves as both a warning and a reflection of present-day concerns. It’s a film that lingers in the mind long after viewing, forcing audiences to contemplate the thin line between civilization and chaos, and the true cost of survival in a world where traditional power structures have crumbled.
