Why I can’t watch PRAEY again – Faranpojo Olaitan
By Faranpojo Olaitan
The “PRAEY” is a first-rate calling-card movie—a medium-budget project that feels much bigger because it puts all the money on the screen, as studio executives like to say, and that will make people want to trust director John Oguntuase with bigger budgets moving forward.
Many have tried to tell our stories, but none have succeeded like this. I am deeply moved. John Oguntuase has outdone himself, transcending he’s stage directing roots to deliver a cinematic masterpiece. Our culture is rich and vibrant, and this film expertly captures that harmony.
If more stories like this were told, perhaps our nation would not be in such a state of discord. Even the church will be ready to fund our projects.
Why I can’t watch Prey again, is because I don’t want to Change my mind because I was excited to be part of the audience that graced the premier. It was actually on a big screen. So why should I watch on a smaller screen?
To make this review easier to digest, I’ll break it down into key elements. www.gospelfilmnews.com
CINEMATOGRAPHY
Kunle Adepoju is the man behind the Lens.
Bro Kunle has shot so many amazing films in Nigeria.
This grand story required a grand visual approach. The choice of a wide aspect ratio provided a sweeping field of view, evident in the stunning wide shots. The combination with pragmatic production design created a surreal experience. Every frame was meticulously crafted.
Camera movements always served the narrative, never distracting from it—a far cry from the many films where unnecessary camera work detracts from the story. A lot of cinematography is intuition.
Kunle Adepoju has shown that cinematgraphy is an art, not a formula.
Excellent use in presenting information and blocking large numbers of people, something too many contemporary filmmakers no longer seem to know how to do.
However, it was kunle’s Adepoju exceptional storytelling, attention to details, and captivating visuals in Prey that made my day.
I congratulate him because every DOP’s dream is to have he’s movie screened on the big screen.
Kudos to your team members (Soundman, Gaffer, Spark, etc)
PRODUCTION DESIGN
I have a soft spot for films with strong production design, which is crucial for historical or epic films. A well – designed set looks good even in bad lighting, and good lighting can save a bad set…. But with good lighting, a good set will look terrific. A good set makes those of us who work in set lighting want to do a great job, because the results can be spectacular.
My point is Poor design can ruin even well-funded projects, but this film’s art director excelled. Two scenes stood out: The shrine”, a beautifully harmonious display of space and placement, and the Hide out, featuring perfectly arranged props and sets. The authenticity of the props suggests a deep dive into creative accuracy, adding to the film’s credibility.
Kudus to Sunday Jokotade and he’s creative team (make up, costume, props, set and dance director, all set runners)
DIRECTING
Filmmaking is never easy as long as you continue learning from the process. Filmmaking is the ultimate team sport. I think, at the end of the day, filmmaking is a team, but eventually there’s got to be a captain. The Captain for Prey the movie is JOHN OGUNTUASHE
A director is the captain of the ship; he gets the vision of the film much before anyone else can. A good director makes a playground and allows you to play. To be a good director, you have to have good life experience.
Directing for stage and film are vastly different, but he has masterfully bridged that gap. he skillfully used the camera to tell the story, allowing the actors to avoid over-acting, but he was almost over acting. This project showcases he’s talent and highlights the differences between stage and film. Although I wished for more interlaced dialogue to reflect Nigerian speech patterns, this is a minor quibble that does not detract from the film’s achievement.
I personally congratulate John for the grace God gave him to direct a movie he can proudly associate with. A lot of directors are really praying for a project they can creatively contribute from script to screen.
ACTING
Tomiwa bobade, Philip oyeleye, Olanrewaju tolu,Victor olukoju, Kayode babalola,
Adeola salako and many others controlled performance is a textbook example of supporting role excellence. Lara Ayoola’s portrayal of the “police inspector” exemplifies her rise to the top tier of a celebrated Gift for any serious filmmaker. Ayobami Adegboyega realism and method acting were so convincing, Femi Adegbile’s (Fejos), as always, brought depth, humor, and purpose to he’s role as the Chief Priest . Veterans like Moses korede Are, Segun okeowo, Afolabi Dipeolu, Idowu Oluwaferanmi, and Daddy Abraham also delivered strong performances. Yemi adepoju’s use of the native dialect and English added authenticity, and the film’s thematic approach differentiated it from typical home videos. Although it was a bit difficult to know the lead character in the film.
CASTING
The producer of the film made it clear that they truly master when it comes to casting.
All character dey on point.
This is not a shades-of-grey kind of movie. Nor is it one where the characters have more than two dimensions or the hint of a personal life beyond their immediate plot function
There are compensatory pleasures. The supporting performances are above and beyond, and is so likable and so believable
SOUND DESIGN (CONTINUITY IN SOUND)
The sound design was exceptional, with a brilliant touch in sound editing. TOLUWANIMI VOICE at the shrine during her spiritual and physical confrontation scene was a stroke of genius, adding realism and continuity. It was very emotional and rewarding for me.
EDITING
The best editing is invisible, and this film’s editing was seamless, ensuring a smooth viewing experience. Am so proud of all the Post Production team. The VFX was very conneting and rewarding for me.
PRODUCER
A key benefit of co-production is that it brings together people from different backgrounds and with different life experiences and it can help make the best use of recourses, deliver better outcomes.
I must celebrate the collaboration between 2nd touch production and impact global ministries for the grace to keep working together despite all the challenges of life. Am so proud of you.
FINAL NOTE
John Oguntuase must educate filmmakers on the level of hard work, commitment, sleepless night, discussion, give and take during production meeting, inputs during production and post production, funding, production management, working with the right Team, consultation, etc. so that people do not think he was just a lucky John.
But, if anyone ever wants to produce a film like PREY, am recommending the entire CREW of PREY, to save time by hiring them.
“When our families are intact, our communities rise.”
I don’t know if that’s the impression the filmmakers wanted to leave, but that’s what comes across.
Faranpojo Olaitan,
Creative Director, Calibrators Media
Ceo/Festival Director, Gospel Film Festival (Gofestival)
A member Directors Guild of Nigeria (DGN)
Member Nigerian FILM FESTIVAL ASSOCIATION (NFFA)
Member INDEPENDENT TELEVISION PRODUCERS ASSOCIATION OF NIGERIA (ITPAN)