On Different Grounds has the character of a Nollywood film elevated by the spirit of a Mildred Okwo film. For all its flaws, Okwo has managed to make a hearty and hilarious but mature romantic dramedy that stands out and fits in at the same time.
By Vivian Nneka Nwajiaku
Do not be misled by the promotional posters for On Different Grounds (2026), the romcom that marks Mildred Okwo’s return to the big screen. The posters will trick you into believing that this is just a Nollywood-Bollywood film about a young Nigerian woman caught in a love triangle between a Nigerian suitor and an Indian suitor. You may consider it a combination of Isoken (2017) and Namaste Wahala (2021). And, to an extent, it is.
But the better approach is to Google the synopsis, in which case you would read something along the lines of: “a divorced couple and their warring families are forced into the same room for their daughter’s wedding.” It’s the better approach because it is infinitely more enjoyable to watch the elegant Jennifer Eliogu and the commanding Bob-Manuel Udokwu bicker and banter in a second-chance senior romance that achieves the satisfaction that The Lost Days (2025) was too unfocused to achieve, while milking the “dramatic Nigerian wedding” formula that made The Wedding Party (2016) a gem.
Udokwu plays Eyimofe Fregene, a strict billionaire businessman still reeling from his ex-wife’s decision to leave when they were still a young couple. Eliogu stars as Isioma Ojeligbo, a self-made businesswoman who cannot quite be described as wealthy but who has no regrets over walking away when her husband made it clear she had to choose between her self-advancement and their family.
After years of being estranged, they are compelled to share space for the first time in a week-long get-together in the large hotel that Eyimofe built from plans Isioma designed. Their relatives, too, have to navigate the awkward and complicated waters of strained relations. And that includes their two daughters, Aurora and Audrey (played by Abena Akuaba and Maggie Osuome, respectively), who have been raised separately—the serious-minded but scheming Aurora, moulded by Eyimofe’s firm and controlling hands, and Audrey the hyperbolic Gen Z influencer, trained by the more cordial and flexible Isioma.
The idea is for the week to culminate in Aurora’s wedding to Tobore (Ifeanyi Kalu), the heir of the connected Daunemia family (Patrick Doyle and Barbara Soky play Tobore’s parents). But with assistance from her truly beautiful best friend, Beauty (Uche Montana), Aurora makes other plans for her parents. Besides, her heart really lies with Rajesh (Vineet Raina), her childhood sweetheart and the son of her father’s Indian friend, Sanjay (Nimesh Diliprai Desai).
That, in itself, is sure to guarantee a messy wedding party. For more chaos, add Isioma’s dramatic sisters (played by Ebele Okaro and Uche Jombo), their traditional brother (Nkem Owoh), Eyimofe’s elitist sister (Fadekemi Olumide-Aluko), her mischievous, womanising twin sons (Ocee and Ozee Mbadiwe), and a heavily pregnant wedding planner (Bamike “Bambam” Adenibuyan). “Will there even be a wedding?” is not the only question. The more important question is: “Whose wedding?”
The cast here is ultimately an ensemble, and the younger characters are the more scandalous group, but the real stars of the show are obviously the veterans, and Okwo is very much aware of that. On Different Grounds prioritises the prospects of another chance at love for Eyimofe and Isioma, with less interest in Aurora’s love life. Even the dynamics between the older relatives, as ageing people dealing with their own internalised trauma, get more breathing space than the tense relationship between the sisters who have been deprived of a relationship by their parents.
Yet, more breathing space is not always enough breathing space. Clearly, there are a lot of moving parts in On Different Grounds, and practically all the relationships skip beats to either get into the conflict or get past it. There are elephants in the room that seem to just slip out the door, like the notion that a daughter would so easily accept her father, who, despite being a billionaire, caused her to struggle all her life as transferred punishment for the perceived sins of her mother, and never even bothered to reach out.
Still, the veterans make this an easy watch, though the younger cast try and often fail to keep up. From Nkem Owoh and Bob-Manuel Udokwu to Jennifer Eliogu, Ebele Okaro and Uche Jombo, Okwo’s cast is a physical callback to Nollywood’s interesting past. But Okwo also plays to the strengths with which they once earned fame. Believe it or not, Jombo is chaotic in this film, and Okaro manages to find an opportunity to weep. It is truly a pity that their value as Isioma’s wingwomen never really comes into play in her romantic pursuits.
It helps On Different Grounds that Okwo is an undoubtedly skilled filmmaker. Nollywood is obsessed with melodrama, humour, and chaos. Rightfully so, since these are hallmarks of Nigerian behaviour. But Nollywood films often fail at wielding these elements to positive outcomes. That On Different Grounds mostly overcomes is a testament to Okwo’s directorial chops. Where chaos is often exaggerated, Okwo is, more often than not, able to keep it controlled and genuine. And even though the humour is often stretched out, it rarely gets exhausting.
It has been five years since Okwo’s last feature, the neo-noir crime thriller, La Femme Anjola (2021), starring Rita Dominic and Nonso Bassey. At first glance, On Different Grounds sounds like a departure from the director’s style and genre preferences. But if there is one thing that has been consistent in her filmography, it is surely romance.
Her most popular film, The Meeting (2012), might be remembered more for its political satire, thanks to Dominic’s iconic performance as a minister’s secretary, but it was primarily a romcom for which Femi Jacobs and Linda Ejiofor picked up acting awards at the Africa Magic Viewers’ Choice Awards (AMVCA). The Africa Magic-backed Suru l’ ere (2016) was a romance-themed dramedy. And even her thrillers typically feature romance as her storytelling vehicle of choice, from La Femme Anjola to her acclaimed debut film, 30 Days (2006), a political thriller.
On Different Grounds is just Okwo’s most outright romcom. And yet, it’s different. But that’s not because it is the first Mildred Okwo feature without Rita Dominic onscreen in some capacity, or the first to not be produced by The Audrey Silva Company since its founding in 2010 by Okwo and Dominic—though that lack of production control is reflected in the film’s flattering and unflattering excesses, unsurprising for a Nigerian film with writing credits given to no less than four writers, including the producer and executive producer, Nicolette Ndigwe-Kalu.
On Different Grounds has the character of a Nollywood film elevated by the spirit of a Mildred Okwo film. For all its flaws, Okwo has managed to craft a hearty, hilarious, and mature romantic dramedy that both stands out and fits in.
Rating: 3.7/5
*On Different Grounds opened in Nigerian cinemas on 12th June 2026.
Vivian Nneka Nwajiaku is a writer and film critic writing from Lagos. She has a master’s degree in law but spends most of her time consuming, studying and discussing film and TV. She’s particularly concerned about what art has to say about society’s relationship with women. Connect with her on X @Nneka_Viv