Reel Love is a lighthearted, enjoyable romance that could appeal to core fans of the genre. However, viewers seeking a more nuanced exploration of love and relationships would find it lacking in depth.
By Joseph Jonathan
I was first attracted to watch Kayode Kasum’s latest film, Reel Love, because of its intriguing title — a clever play on words that immediately piqued my interest. The title subtly hints at the tension between genuine emotions and the curated personas we present online.
The word “reel” not only evokes the idea of film reels, tying the story to the cinematic experience, but it also cleverly references the short, captivating videos that dominate social media platforms like Instagram and TikTok.
Based on a screenplay by Ife Olujuyigbe, Reel Love tells the story of Tomide Jobi (Timini Egbuson), a charismatic relationship influencer whose reputation is tarnished when a video of him arguing with a woman, Rachel Monday (TJ Omusuku), goes viral.
To salvage his image, Tomide and Rachel agree to stage a fake romance, but as they pretend to be in love, real emotions develop. As they navigate their feelings, secrets, and past heartaches, the lines between reality and social media personas blur. When the truth about their fake relationship is exposed, Tomide must confront the consequences of his actions and fight to win Rachel’s heart.
Romance films, including sub genres like romantic comedies, romantic dramas, and romantic thrillers, have a universal appeal that transcends cultural boundaries. In Nigeria, where romance films are incredibly popular, audiences flock to cinemas to experience the thrill of love, heartbreak, and happily-ever-afters. The genre’s enduring popularity stems from its ability to tap into fundamental human emotions, making it relatable and engaging for viewers worldwide.
However, creating romance films that feel authentic and relatable while avoiding familiar tropes can be a daunting task. The genre’s reliance on tried-and-true narrative formulas can result in stories that feel predictable and repetitive.
This challenge is particularly pronounced as audiences crave authenticity and innovation, yet they also seek the comfort of the genre’s emotional beats. Striking this balance is no easy feat, as filmmakers must navigate the fine line between delivering what viewers expect and surprising them with new perspectives.
Reel Love attempts to refresh the romance genre by exploring contemporary love through the lens of social media culture. The film tackles timely themes like online fame, public perception, the blurring of reality and virtual reality, and the dark side of influencer culture. However, it doesn’t fully commit to these themes, instead relying on familiar romance tropes, predictable plot points, and character dynamics that feel overly familiar.
One such trope is the “enemies to lovers” dynamic, seen in the relationship between Tomide and Rachel, who transition from heated arguments to a seemingly loving relationship albeit initially as part of a social media stunt.
This trope has been a staple in romance films for decades, such as Hollywood classics like Sound of Music (1965), You’ve Got Mail (1998) and Pride and Prejudice (2005), where initial friction between characters gradually gives way to mutual affection.
In the case of Tomide and Rachel, their transition from viral enemies to lovers feels all too convenient. While the unplanned nature of their initial outburst adds a layer of realism, the script doesn’t fully capitalise on the complexities of their situation.
For instance, the film could have delved deeper into the emotional aftermath of their public feud, or introduced complications that would have made their transition to a romantic relationship more believable and nuanced. By doing so, the story could have added depth to the characters’ motivations and emotions, making their eventual romance feel more earned and authentic.
Similarly, Reel Love is built on the “fake relationship turned real feelings” trope, a plot device that has been employed in countless romantic comedies. Hollywood films like Pretty Woman (1990) and To All the Boys I’ve Loved Before (2018) as well as Nollywood films like Hire a Man (2016) and Hire a Woman (2019) have explored this concept, where characters enter a pretend relationship for personal gain, only to develop genuine emotions for each other.
Unlike the aforementioned films where the emotional stakes were high, making the characters’ romance feel earned and authentic, Tomide and Rachel’s staged romance for social media clout feels somewhat emotionally hollow. While their pretend relationship creates moments of charm, the emotional risks and vulnerabilities they take feel relatively low, making their eventual romance feel less impactful and more predictable.
While these tropes are undeniably crowd-pleasing, the overreliance on convention highlights the challenge of creating a romance that feels entirely fresh. As a result, the story feels more like a variation on a familiar theme rather than a bold new take on the romance genre.
If the tropes are less impactful, it’s no surprise that the acting performances feel uninspiring. Omusuku, in her first lead role, does well considering the material she has to work with. She’s able to build chemistry with Egbuson, and while it’s not electrifying, it’s a promising start.
Notably, Egbuson has delivered stronger performances, such as in Breaded Life (2021), which may have set a high bar for his on-screen pairings. Despite these shortcomings, Reel Love deserves plaudits for its costumes and choice of soundtracks. The latter, in particular, is noteworthy, with a curated selection of Nigerian hits that not only match different moods, but adds to the film’s energy and charm.
Reel Love is a lighthearted, enjoyable romance that could appeal to core fans of the genre. However, viewers seeking a more nuanced exploration of love and relationships would find it lacking in depth. Much like the fake romance at its core, the emotions and conflicts in Reel Love feel staged and predictable. As such, Reel Love fails to stand out in a crowded genre.
Rating: 2/5
Joseph Jonathan is a historian who seeks to understand how film shapes our cultural identity as a people. He believes that history is more about the future than the past. When he’s not writing about film, you can catch him listening to music or discussing politics. He tweets @JosieJp3.