There are films you watch for entertainment. Then there are films that arrive like a mirror.
Anjola, produced by Bolaji Ogunmola and featuring powerful performances from Bolaji Ogunmola and Femi Jacobs, belongs firmly in the second category. It is more than a movie. It is a cultural autopsy, a social intervention, and a national conversation wrapped in storytelling.
At its emotional core, Anjola tells the story of a woman trapped between biology and brutality, hope and humiliation, faith and fear. But beneath the tears, rituals, silence, and desperate prayers lies a deeper reality many Nigerian families still struggle to discuss openly: the emotional terrorism experienced by women trying to conceive (TTC).
The film does not merely tell a story. It exposes a wound. And perhaps its greatest achievement is not simply portraying infertility, but revealing the horrifying extremes society can push women toward when motherhood becomes the only accepted proof of womanhood.
The invisible funeral many TTC women attend daily
Across Nigeria and many African societies, infertility is rarely treated as a medical condition. Instead, it is often treated as: a moral failure; a spiritual embarrassment; a family scandal, or evidence of hidden sin. A woman without a child is frequently forced to wear an invisible sackcloth to weddings, church programmes, naming ceremonies, village meetings, and family gatherings. Every smile hides interrogation. Every prayer meeting carries suspicion. Every greeting becomes a coded reminder of what she does not yet have.
Many TTC women live under constant emotional surveillance. Some are mocked privately. Some are insulted publicly. Some are compared to younger wives. Some are abandoned emotionally. Some are replaced entirely. Yet they wake up every morning and continue surviving. That survival deserves applause.
To every TTC woman reading this: we see you. Society may have draped garments of stigma, shame, unsolicited advice, and spiritual manipulation over your shoulders, but you continue to rise. You work. You smile. You hope again tomorrow. And that resilience deserves a standing ovation.
Your worth is bigger than your womb
In the spirit of Myles Munroe, one truth must be stated clearly: Your womb is a function. Your personhood is a purpose. Your value did not begin with childbirth, and it does not end without it. You are not broken. You are not incomplete. You are not less. Motherhood is beautiful, but your humanity is bigger than your fertility status. Your life is not suspended because conception has not yet occurred. Your purpose precedes your pregnancy. No delay can cancel your original value.
When hope becomes hazard
One of the most disturbing truths Anjola confronts is how desperation can make vulnerable people susceptible to exploitation. The flogging scenes in the film are not merely cinematic shock devices. They symbolize the painful realities many TTC women silently endure in the name of “deliverance.”
Across different communities, countless women have been pressured into degrading practices disguised as spiritual solutions: violent exorcisms; starvation prayers; dangerous concoctions; midnight river rituals; invasive “womb massages”; painful body manipulations; exploitative counselling sessions; and even sexual abuse disguised as “anointed seed” or prophetic instruction.
Some are told to swallow bizarre substances made from lizards, tortoises, or other harmful mixtures. Some are financially drained. Some suffer internal injuries. Some lose their marriages. Some lose their mental health. And tragically, some lose themselves entirely. These are not spiritual exercises.
They are assaults on dignity, intelligence, and humanity. A God who created the intricate biology of the human body does not require humiliation, violence, secrecy, or exploitation as proof of faith. There is a difference between spirituality and manipulation. There is a difference between prayer and predation. There is a difference between divine guidance and dangerous control. A woman should never have to bleed to prove she believes.
The industry of fear around fertility
Perhaps one of the most uncomfortable truths the film exposes is that infertility has become an economic ecosystem.
Fear has a market. The longer couples remain desperate, the easier they become to exploit. Suddenly, everyone becomes an expert: the prophet with secret revelations; the herbalist with hidden roots; the self-appointed auntie with village formulas; the online miracle vendor; the “spiritual intermediary” selling divine shortcuts.
Pain becomes commercialised. Hope becomes weaponised. Fear becomes monetised. And TTC women often pay the highest emotional price. The tragedy is not merely that people try unusual things. The tragedy is that society corners women emotionally until unusual things begin to sound reasonable.
Pain can make intelligent people vulnerable to dangerous ideas. And predators know this.
The theology of common sense
Fela Durotoye often emphasises that nations rise when people rise in wisdom. That wisdom is urgently needed in conversations about fertility.
To every TTC woman: Do not suspend your common sense in the pursuit of a miracle. If a practice is humiliating, harmful, secretive, or exploitative, it is not divine intervention. It is abuse. There is dignity in medical care. There is wisdom in evidence-based healthcare. There is strength in psychological support. There is maturity in seeking second opinions. And yes, there is room for prayer.
But prayer must walk with wisdom, not against it. A desperate woman is not foolish. She is hurting. But pain should never become permission for exploitation.
Bolaji Ogunmola’s performance: Pain without performance
Bolaji Ogunmola does not merely act as Anjola. She dissolves into the character. The brilliance of the storytelling lies in emotional layering. Anjola is not written as a caricature or a weak woman. She is portrayed as a psychologically exhausted believer trying to negotiate hope inside a hostile environment. Her silence often speaks louder than dialogue.
Her eyes carry the exhaustion of someone who no longer knows where faith ends and fear begins.
The film wisely avoids portraying desperation as stupidity. Instead, it presents desperation as accumulated emotional suffocation. That distinction matters deeply.
Because many educated women today — lawyers, professors, nurses, bankers, entrepreneurs — still find themselves caught between science and superstition when conception delays persist.
The Folarin standard: A call to Nigerian men
If Anjola represents wounded endurance, Folarin represents responsible masculinity.
Femi Jacobs portrays a husband who is emotionally present, protective, steady, and compassionate.
In many fertility stories across Africa, women absorb the full burden of blame while men disappear emotionally behind silence, ego, or culture.
But Folarin stands differently. He listens. He protects. He absorbs pressure. He speaks when silence would be easier.
And this may be one of the film’s most important messages: Marriage is not a courtroom where the woman stands trial alone. A husband is not merely a financial provider. He is an emotional covering, a defender, and a companion in uncertainty.
To Nigerian men: Stand beside your wives publicly and consistently. Participate in medical evaluations. Reject harmful cultural pressure. Speak against exploitative practices. Defend your wife when family members weaponise shame against her. Money alone is not enough.
A wealthy but emotionally absent husband can still create a lonely marriage. Women do not simply need providers. They need partners. The true strength of a man is revealed not by how loudly he commands a home, but by how faithfully he stands beside his wife when life becomes painful and humiliating. Infertility is not “her problem.” It is a shared journey.
What Anjola gets right about African storytelling
From a cinematic perspective, Anjola succeeds because it understands that great storytelling is not merely about plot.
It is about emotional truth. The pacing allows discomfort to breathe. The performances resist melodrama. The emotional tension builds gradually. The silences themselves become narrative.
Rather than creating cartoon villains and perfect heroes, the film presents a society where pain itself becomes the antagonist. That is why the story resonates so deeply. Every African community knows an Anjola. Every family has heard the whispers. Every church has seen the pressure. Every society has watched women carry impossible expectations with trembling dignity.
A national call to action
Nigeria must rise to protect TTC women by:
- Normalising medical fertility care
- Promoting accurate reproductive health education
- Criminalising sexual exploitation disguised as deliverance
- Exposing fraudulent spiritual practices
- Encouraging evidence-based healthcare
- Strengthening emotional support systems for couples dismantling the culture of blame and shame surrounding infertility
A society that truly values women must protect them not only from disease, but also from deception.
Final word: To every TTC woman
You are not defined by your struggle. You are defined by your strength. You do not need abuse to prove faith. You do not need humiliation to prove patience. You do not need dangerous rituals to prove desire.
Protect your body; Protect your mind; Protect your dignity.
And to husbands: stand beside your wives — publicly, tenderly, consistently. Do not allow culture to transform your silence into cruelty.
In the end, Anjola is more than a film. It is a warning. A mirror. A conversation. A cry for compassion. And perhaps most importantly, it is a call for Nigeria to replace shame with support, superstition with wisdom, and humiliation with humanity. Because no woman should have to lose her dignity while searching for a child.
And no nation can call itself healthy while women continue suffering silently beneath the crushing weight of expectation.
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Daniel Akintola writes from Birmingham, UK. He is the multi-award winning African tech business leader who emerged the First African Winner of the Entrepreneur of The Year at the 2024 IAMBCU Awards at Birmingham City University since the institution was founded in 1843.
