Mami Wata

“What a picture!” I said to no one in particular, upon watching Mami Wata for the first time, in my worst “Al Pacino from Once Upon a Time in Hollywood” impression.

Mami Wata is an innovative, original new film from Nigerian director/writer, C.J. “Fiery” Obasi. Mami Wata is at once a modern film, uniquely shot in a style wholly its own, but beholden to a visual language that has existed for eons. It bridges gaps between generations in its filmic language. The way it's staged feels like an ambitious play, but transcends the stage, and even the medium of film/video, into something new and exciting. 

The film begins with Mama Efe (Rita Edochie), who acts as the intermediary between the townspeople of a small, west African village, and the oceanic water deity known as Mami Wata. A woman begs Mama Efe to save her child’s life, but she cannot. There are some things she can do, and some things she cannot. The whims of the gods are mysterious. And so, the child dies. Mama Efe’s daughter, Zinwe (Uzoamaka Aniunoh), objects to the way Efe acts in her role as intermediary and, in the dead of night, takes Efe’s bracelet and vanishes from the town.

Perhaps by chance, or perhaps because of the power of the bracelet, the balance of power begins to shift. Efe’s powers seem to be dwindling. Her other daughter, also rebellious and strongheaded in her own way, Prisca (Evelyne Ily Juhen) tries to enlist the help of the outside world, to receive medicine and vaccinations from doctors.

When outsider Jasper (Emeka Amakeze) shows up, washed ashore from the ocean, he ingratiates himself to the villagers. He wears a kind smile and speaks softly. He tells Prisca and Efe how much he appreciates them saving his life and inviting him into their homes. But behind the scenes, he’s planning a rebellion to seize control of the village. He promises them hospitals to save their sick, schools to educate them, but takes their money and buys guns to ensure any retaliation against him will be swiftly dealt with.

In an era with Hollywood films struggling to recoup massive budgets, studios could learn a lot from Mami Wata, a movie that costs a fraction of what some box office disaster would cost. It takes a deceptively simplistic story, one of a balance of power, of faith being tested, and allows it to pack an emotional punch because of essential storytelling techniques that have been part of the framework of narrative for hundreds of years. Namely, we care about the characters. We get to know them. And we want to see them succeed. When we see them struggle, when all hope seems lost, we’re invested into what happens next. And although what happens next is no less exciting than many major event films, it doesn’t hinge on CGI-laden set pieces. It’s in quieter moments with tension so thick you could cut it with a knife.

Movies like Mami Wata are a revelation and a tremendous achievement, that show audiences not only what filmmaking is capable of, but what stories themselves are capable of. It’s the story of faith—but not a preachy one; it’s about the power of faith and higher forces working in mysterious, often seemingly-cruel ways. Not as a test in faith, but to allow human bravery to emerge. It’s also about what happens when the magic of a specific place is destroyed, and what remains. Mami Wata is uniquely an African story, but it’s one that speaks to the human condition. We’ve all witnessed a story like this unfold in our lives.

Vital Stats: The Blu-ray
Mami Wata comes to Blu-ray courtesy of Dekanalog, and Vinegar Syndrome’s sister company, OCN Distribution. The movie and special features are all contained on a single Blu-ray disc in a standard case. The case contains a reversible slip-cover: One side is white, and the other is black, representing the two very specific shooting styles of the film, for day and night sequences. Inside is a booklet containing a statement from the film’s director, C.J. “Fiery” Obasi.

If you were to ask me, “What are the best-looking movies on home video right now?” I’d have to answer with the usual suspects we all know, that epitomize near-perfection in video transfer: Blade Runner 2049, Mad Max: Fury Road, The Matrix, etc. Joining that short list, and without hyperbole, is Mami Wata, an experience that feels designed specifically with OLED televisions in mind.

Shot in monochromatic black and white, nighttime scenes in Mami Wata are shot against the blackness of the sky and the blacks are a true black, an inky void devoid of glare. And our characters are framed against it in silhouetted light that hugs their faces. The white paint on their faces, or the shells in their hair, almost seem to glow. I was entranced. I couldn’t tell if this effect was achieved on-set through some sophisticated lighting technique, or if it was mastered in post. It doesn’t matter, and honestly I’d prefer not to know it order to protect the magic and the mystery it holds in my brain.

Daytime scenes are the opposite and shot against a blinding white background. Details beyond characters’ faces are barely legible. Certain shots, like a character walking along the beach, is shot traditionally, but closeups that obliterate the world around them is an intentional visual choice to focus the viewer’s attention on the acting of individual scenes. We see subtle cues like nervous, darting eyes, quivering lips, in full, unrelenting detail.

Mami Wata is one of the most gorgeous films ever made and the presentation on this Blu-ray is among the best I’ve ever seen. Though this release is only in 1080p HD, with no HDR, I’m uncertain of how much difference a 4K/Dolby Vision release would make because the presentation as-is about as close to perfection as I can imagine.

Whereas the visual presentation of Mami Wata is demo-worthy, seemingly made specifically for OLED televisions and to show off their capabilities of infinite contrast and true blacks, the soundtrack and audio presentation is merely excellent. The Blu-ray’s audio mix is available in DTS HD-MA 5.1 surround sound and DTS HD-MA 2.0 stereo. I did give certain sequences a listen to on both, toggling back and forth, and I could really only recommend the 2.0 mix if you don’t have a sound system capable of 5.1 surround. If you’re just using your TV speakers or a two-channel soundbar, stereo will be a good option for you.

For everyone else, the 5.1 mix is fantastic stuff. Rear-speaker activity is at a near constant level, whether from the wonderful, classically composed musical score, ambient sounds like blowing wind, ocean waves crashing, or trees softly rustling. In the village, we can hear drumbeats through the rears, singers whooping and cheering and the idle chitchat of background dialogue. Gun sound effects are terrifyingly realistic, without being overloud. Front speakers crack, rear speakers echo and the subwoofer rumbles with LFEs. Dialogue, which was filmed in West African Pidgin, is never lost in the mix and favored strongly throughout.

While there's not a staggering amount of special features to be found on Mami Wata’s Blu-ray, the features that are here are strong and helped deepen my understanding of the film as a whole. Interviews with the director and behind-the-scenes footage explained the folklore on which the film is based, for an updated version of old tales that have existed for ages.

• Audio Commentary with Writer / Director C.J. 'Fiery' Obasi
• Defying Genre: C.J. 'Fiery' Obasi on Mami Wata (HD 17:59)
• Making Mami Wata (HD 32:45)
• Mami Wata Scoring Sessions (HD 6:10)
• Outtake (HD 1:41)
• Deleted Scenes
• Theatrical Trailer
• Booklet containing director’s statement and essay

As a film, Mami Wata is an exciting event unlike anything I’ve ever seen. As a technical product, with more objective standards of quality, it’s unparalleled. Visually, it’s a sight to behold. The 1080p transfer is about as close to perfection as you’d hope to see. I could throw around words like “stunning” or “sumptuous” all day, but just take my word for it, it’s an experience, above! Dekanalog and OCN Distribution’s release of Mami Wata on Blu-ray comes Highly Recommended