Yoruba religion holds that there are at least three worlds: the world of the living, inhabited by humans; the afterlife (where some may live after death as vile mortals who transform into evil spirits that other humans can manipulate at will); and, perhaps the most nebulous and elusive of all, the world inhabited by pre-human creatures. AbikuA child who is reborn multiple times into the same family or household is trapped in a universe of unbornness. But more importantly, Eniola Ajao The Beast of Two Worlds Reimagined, these worlds become more conflictual, with humans and non-humans often intermingling for benevolent or malevolent reasons.
The basis of spirituality itself is unimaginable without the presence of humans who take the first step of seeking the intervention of these otherworldly creatures or instigating them into action. Nollywood Yoruba films have been demonstrating this since the days of Ajileye’s horror-inspired classics. Koto Orun, Koto Ai and Eran Iya OshogboIn these stories, humans use witchcraft and evil spirits to unleash evil on their communities. Most of the demonic characters are either “white” witches or have anti-evil intentions. Koto Orun Abijah is Koto Aiis fuelled by the actions of villains. King of Thieves, Anikurapo: Rise of the Specter and King KesariGuided by Yoruba spirituality and worldview, the story illustrates the nuances of the interaction between the three worlds. King of Thievesis a reincarnated human god on a mission to exact revenge for the atrocities committed against the previous generation. Anikurapo: Rise of the SpecterAfter dying, Salo is reborn with both human and spiritual qualities and travels between both worlds on a new mission as an emissary of death. AkudayaThe belief that those who die before fulfilling their destiny are given a second chance to live in the world of the living. In such cases, human spirits have the ability to interfere with the affairs of the living and the dead, and may disappear entirely if their time runs out or their true identity is prematurely revealed to those around them.
The Beast of Two Worlds is a microcosm of the fluidity of the Yoruba multiverse, featuring animals, anthropomorphic forest spirits and a protagonist who identifies as human. Based on a mythology told by an unseen narrator, the film explores destiny, magic, human survival, power struggles and female agency in a male-dominated society. The film tells the story of Oba Twogbola, a powerful king who faces the possibility of being dethroned and exiled after a decade of unsuccessful attempts to produce a son and heir from his three wives. Out of desperation, he contacts Ajakaju, a vengeful anthropomorphic creature who is driven by the desire to save his life. Selanko SenyanThe king marries her as his fourth wife in the hope of having a son, but the marriage uncovers important secrets about the king’s mother and his wives.
Ajao’s films are the precursors of New Nollywood King of Thieves Nollywood portrays female characters as powerful and central in the politics of a male-dominated society. This in turn creates an illusion of patriarchy. Important female characters in the king’s life hold the key to the king’s longevity. While portraying such women as potentially harmful and cruel people may be unpalatable to feminist audiences, the ability of women to take responsibility for childbirth and motherhood makes an interesting case for female liberation and acknowledges the role of femininity in the organization of patriarchy. In most Nollywood stories, women are blamed and at risk of losing their marriage if they fail to give birth to a male child. However, The Beast of Two WorldsOba Twogbola is at risk of losing his leadership and identity and is subject to social pressure and stigma.
Odunlade Adekola and Director Adebayo Tijani, The Beast of Two Worlds The film features a traditional female superhero with a complex moral identity. She is Ajakaju, a ruthless beast-like creature who takes the lives of innocents in the community’s forests, especially hunters, making them pay for betrayal of trust and loss. She is Adararewa, a concerned wife and mother who protects her royal sons from harm and the king from eternal shame. As two halves of the same character, played by Eniola Ajao, producer and executive producer of the film, Ajakaju and Adararewa refuse to show weakness and demonstrate strength and sharp judgment in the face of adversity. The film is Boy King In this series, the contemporary female drive for political power proves too strategic to compete with her male contemporaries, but it does forge a certain identity for women in a traditional society. It can be argued that Eniola Ajao has realised a clever plot of female empowerment in a patriarchal society with this film. For her, vulnerability is not necessarily a sign of femininity.