Làbákẹ́ Olódodo Full Movie Review and Recap

Once again, Nollywood has made a bold statement of excellence and cinematic prowess with the production of Làbákẹ́ Olódodo.

As an enthusiast of Yorùbá culture, I deeply applaud how recent Yorùbá films are reviving nearly extinct traditions and cultural practices. In Yorùbáland, there once existed a working way of life that perfectly suited its era, covering childbirth, warfare, spirituality, royalty, and the celebrated ethos of Omolúàbí, Bíbíire, Akíkanjú and Ìwàpẹ̀lẹ́. The movie, Làbákẹ́ Olódodo captures these elements vividly.

The movie tells the story of a fearless and powerful warrior woman, Làbákẹ́, played by the producer Ìyábọ̀ Òjó, who fought valiantly for Olúkòsì Kingdom and earned herself the chieftaincy title of Akọgun. But when the king, Ọba Adégbenró (played by Fẹ́mi Adébáyọ̀), asked her to fight on behalf of Olúgbọ́n Kingdom, she refused. This left the brave youths, under the leadership of the àrẹ̀mọ, Prince Adéẹ̀sọ́ (played by Olúmídé Ọ̀wọ̀rù), to take up arms and defend Olúgbọ́n. In a tragic turn of events, the àrẹ̀mọ died bravely defending his kingdom, and the news of his death killed the king, Ọba Adéníyì (played by Yínká Quadri).

In sharp contrast, the Balógun (Played by Muyiwa Adémọ́lá) cowered in fear, avoiding battle. The void of true leadership was filled by the youths, depicted with flair by popular skit makers such as Brother Shaggi, Lawyer Kunle, and Kamo, who demonstrated how progressive young people can change narratives, hold leaders accountable, and step forward as true champions of their communities.

Làbákẹ́’s right-hand man, Àdìgún (Played by Àlàbí Ọ̀nàọlápọ̀), embodied tyranny and arrogance. Yet Làbákẹ́, true to her moral compass, stood against his unethical ways by demoting him. Later, she restored him after he showed genuine remorse, an act that highlighted her leadership as both firm and compassionate.

The introduction of Western education in the movie was a refreshing blend, a quick illustration of the new and old eras and how it was received.

Jaiyéọba, (played by Táyọ̀ Fáníran) the English Teacher, despite being Yorùbá, acted in the typical  uncultured Alákọ̀wé manner when he stretched out his hand to shake Làbákẹ́ Olódodo instead of bowing in respect like his colleague Àgbékẹ́ (played by Wùnmí Toríọlá). Àgbékẹ́ mistook Jaiyéọba’s lack of respect for bravery, but Àdìgún frowned at his “un-Yorùbá” behaviour.

This reflection is strikingly relevant today. In 2025, many Yorùbás still act like Jaiyéọba, downplaying their heritage and posturing as westernized. Some claim it shows education, but that is not education; it is identity crisis. It is a pitiable malady. It is mental slavery, the worst form of slavery.

Romance enters the narrative as Jaiyéọba woos Làbákẹ́ with a love letter. Though unlearned, she was moved by its words, and affection blossomed. At 40, Làbákẹ́ yearned for love and family, though her grandmother disapproved.

Jaiyéọba’s love for Làbákẹ́ was soon put to the test when Làbákẹ́’s paternal grandmother (played by Màmá Àbẹ̀ní Agbọ́n, Tóyìn Ọláníran) issued a stern warning to him to desist from his romance with Làbákẹ́.

The story reached its climax with the shocking revelation that Jaiyéọba was, in fact, a spy working for his true love, Princess Adeṣẹwà (Scarlet Gomez) of Olúgbọ́n Kingdom. She uncovered the bitter truth, that it was Làbákẹ́ herself who had been orchestrating attacks against Olúgbọ́n, leading to the deaths of both the àrẹ̀mọ and the king.

Bí ikú ilé ò bá pani, ti òde ò lèè pani.

To make matters worse, Beyioku (Olarotimi Fakunle), whom audiences expected to be loyal, secretly conspired against Làbákẹ́ alongside Princess Adeṣẹwà, seeking revenge for being overlooked as her second-in-command.

Àdìgún was the one expected to betray Làbákẹ́, not Beyioku. Àṣé lóòtọ́ ni wípé, ẹni a gbójú okùn lé ò jọ ẹni agba.

Làbákẹ́, blinded by love, submitted herself to Jaiyéọba and engaged in acts that rendered her spiritual power inefficacious, making her an easy target for Princess Adeṣẹwà, who captured and chained her.

The beginning of the end of the film reveals that Làbákẹ́ and her grandmother had long harbored enmity against the royal family of Olúgbọ́n, who had seized her father’s land and killed him. This personal vendetta drove Làbákẹ́ and her warriors to disguise themselves as marauders in their quest for vengeance.

While I deeply appreciate the cultural richness of the movie, I was disappointed by certain elements. 

As we continue to advocate for the promotion of the Yorùbá language, with programs like Másòyìnbó encouraging pure and impeccable Yorùbá, I expected that in a movie like Làbákẹ́ Olódodo, the àrẹ̀mọ, Prince Adéẹ̀sọ́, and Princess Adésẹwà of Olúgbọ́n would speak flawless Yorùbá without switching to English at all.

In Yorùbáland, Olúgbọ́n, Arẹ̀ṣà, and Oníkòyí are among the most ancient vassal kings. Làbákẹ́ is eulogized as an Ìkòyí-Ẹ̀ṣọ́, a lineage befitting her personality in the movie. The use of Olúgbọ́n is good, but I have a problem with how it was applied in the film.

The use of “Olúgbọ́n” as the name of a kingdom doesn’t seem right. The etymology of the word Olúgbọ́n means Olú Igbọ́n, “the lord (king or ruler) of Igbọ́n,” the same way we have Olú of Ìlàró, Olú of Ìbàdàn (widely called Olúbàdàn), Olú of Warri, and so on.

Another misconception in the movie is the use of “Ìbà” (Lord) for Beyioku, Làbákẹ́’s right-hand man. “Ìbà” is an appellation used only by the Baṣọ̀run of Ọ̀yọ́ or the Àarẹ Ọ̀nà Kakanfò of Yorùbáland. It doesn’t fit the role of the right-hand man of an Akọgun.

What I love most about the movie is the portrayal of women’s roles in Yorùbáland. Our women were never relegated to the background; they were actively involved in governance, spirituality, warfare, and more.

What I disliked most, however, was the unnecessary display of Làbákẹ́’s breast. Whether it was Ìyábọ̀ Òjó’s real body or a prosthetic by Hakeem Effects Onilogbo, it added nothing to the story and instead became a complete turn-off.

Overall, Làbákẹ́ Olódodo, directed by Bíọ́dún Stephen and produced by Ìyábọ̀ Òjó, is a culturally immersive and visually gripping film. It celebrates Yorùbá heritage while raising critical conversations about leadership, youth, morality, and identity. It is a film worth watching. I am rating it 7 out of 10.

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