Abattoir

[bigletter]Take Martins Durosanya, a young man all-but-crushed by an unspeakable past, trying to lift other young lives while struggling to escape the calculating fingers that are poised to claw him back into yesterday. Place Martins in a contemporary African setting, complete with layer upon layer of intrigue -and you get Abattoir.[/bigletter]

Abattoir’s fast-moving plot draws you in from the start. It opens with a high impact scene that keeps you hooked and keen to see more. The film has an unashamedly Christian message which unfolds through hard-hitting themes including occultism, molestation, prostitution, and legal battles; and shines through the beauty of forgiveness, restoration, love, and stewardship.

The characterization in Abattoir is striking – from Martins, to Chief Durosanya, Gbade, the students, Baba Gbenro, and Flora – with realistic, top-class acting. The portrayal of a younger and an older Martins as the main character is simply brilliant.

The non-linear telling of the story increases the engagement of the viewers; going between present and past, gradually revealing the missing pieces like a jigsaw puzzle.

The editing of Abattoir is excellent – precisely moving between scenes and cutting out unnecessary introductory fluff. The scriptwriter, director, editors, and producers uphold one of tenets of great storytelling: letting the viewers fill in the minor gaps themselves.

Abattoir’s film score, backing tracks, and sound-effects are spot on, creating the right ambience: from suspense to action to high emotion.

The dialogue in Abattoir is precise and intentional, with a number of masterful one-liners. For example, Martins says to his father, “I would choose my sickness to your healing any day.”

In his thought-provoking prayer he says, “Heal my past, restore my present, renew my future.”

Baba Gbenro says to his son Gbenro, “Not all open doors are from God.”

As much as Abattoir is serious, it is replete with humorous scenes that catch the viewers by surprise. An example is the scene with Dr. Alabelewe and his money-hungry customer. Abattoir is also apt in weaving in verses of scripture, and the clear preaching of the Gospel. 

Contrast is used beautifully in the storylines. One of such: Chief Durosanya is always surrounded by opulence, nicely dressed, in a beautifully furnished home, but never any warmth or smiles, just silence and emptiness.

The cinematography is great, evoking emotion. Example: the viewer experiences Martin’s fear and tension in the scene where he encounters his father in the dark, narrow corridor, telling him to come back home.

Abattoir has a great way of introducing new characters and concepts by linking common ground, and a fantastic way of twisting the plots with conflict. The detail in and choice of scene props, the lighting and camera angles are all adeptly done.

One area the producers of Abattoir need to pay attention to is the accuracy of the subtitles; some typos detract from an otherwise well-presented film.

In all, Abattoir is a beautifully told, skillfully portrayed, intriguing, gripping story that is not afraid to touch on difficult social topics, and is bold to present the Gospel of Christ and the difference He makes. Abattoir is a high standard for budding Christian filmmakers to aspire to.

Review by Dr. Leah Akinlonu