MOVIE REVIEW: Is ‘Colour of Fire’ really worth watching?

“Colours of Fire” (2025) is a Nollywood epic directed by Niyi Akinmolayan, starring Uzor Arukwe, Osas Ighodaro, Mercy Aigbe, and Gabriel Afolayan.

Mr Akinmolayan presented the film as more than just another release. To him, it marks the birth of a new wave in African cinema, which he refers to as Afrofusion.

He describes Afrofusion as a bold blend of African myths from diverse cultures, modern visual effects, and striking pan-African fashion, all woven into a single narrative. It is an ambitious vision, one that raises a simple but essential question: Does the film truly deliver on this promise?

Plot

At its heart, Colours of Fire is a story of rivalry and misunderstanding. The world it builds is divided between two powerful tribes. The Blue Tribe, masters of fabric-making, once ruled with their sacred blue magic known as Elu. Under their reign, peace and prosperity flourished.

Blue was not just a colour; it was a symbol of harmony, skill and divine favour.

That balance is shattered when a new colour emerges, red. Born, according to fearful rumours, from blood and dark magic, red spreads rapidly and threatens the Blue Tribe’s dominance.

Suspicion soon turns into terror when tales circulate of a monstrous being, believed to come from the Red Tribe, attacking farmers during the harvest of Esu. Fear poisons reason, and the prosperity of the Red Tribe becomes a source of dread rather than admiration.

To end the threat, the Blue Tribe turns to Akinbode, a warrior raised for one purpose: to slay the monster. Armed with a sacred sword and years of training, he sets out convinced that his destiny is written in blood.

But destiny has other plans. When Akinbode finally reaches the land of the Red Tribe, he finds no monster, and the red tribe has its own troubles, too. Instead of horror, he encounters love.

In Moremi, he discovers not just affection, but a path to the truth. She is the woman meant to bring down Badore, son of Abifarin, yet she becomes the bridge between two worlds built on deception.

As truth slowly unravels, Akinbode learns that the hatred between the tribes is rooted in myths, fear and deliberate fabrications. The real enemy is not colour, magic or tribe, but the lies that have kept them apart for generations. How much must be sacrificed to restore peace when truth itself threatens long-held power?

Review

Colours of Fire dazzles and frustrates in equal measure. The film’s strongest asset is its story, which draws deeply from mythology and frames it within a carefully constructed narrative.

At first glance, it feels theatrical and immersive, enriched with rhythmic sounds and dance. It opens strongly, pulling the audience in, though this early momentum does not quite last.

The costumes and production design significantly elevate the film’s visual appeal. From the elaborate outfits to the richly imagined settings, the film consistently pleases the eye.

Set in an ancient kingdom, ‘Colours of Fire’ weaves together forbidden love, clan rivalries, and cultural conflict. It leans heavily on CGI, animation, and AI-powered visuals, blending romance with action. Aimed at mature audiences, the film includes nudity and intense scenes that reinforce its adult themes.

Released on 24 December 2025, the film has grossed approximately ₦51 million at the box office amid ongoing disputes. Critical reception has been mixed but largely positive.

The movie brings innovative visual effects, striking cinematography, detailed costumes, and strong performances, particularly by Uzor Arukwe and Osas Ighodaro in their Yoruba roles.

Final thoughts

However, the film falters in its screenplay. Despite the cast’s efforts, weak writing, abrupt endings, excessive nudity and noise, and an overreliance on AI-driven visuals undermine its overall impact.

‘Colours of Fire’ partially fulfils its Afrofusion promise but not wholly. The film clearly advances a new visual language in Nollywood, aligning with Mr Akinmolayan’s Afrofusion vision.

Additionally, Afrofusion, as a cinematic category, demands more than mere spectacle. Instead of a seamless fusion, the film sometimes feels like a collection of impressive parts, that is, myth, visuals, fashion, and technology, all competing for attention at the same time, rather than being harnessed as a holistic whole.

‘Colours of Fire’ succeeds in defining the look of Afrofusion but struggles to master its substance. It establishes a bold visual and technical blueprint for what Afrofusion cinema could become, even if it falls short of fully realising that ambition in storytelling.

Ultimately, ‘Colours of Fire’ is a visually ambitious and polarising film, best suited for viewers who enjoy epic storytelling and cutting-edge technology. While it may stumble narratively, it succeeds as a bold, eye-catching production that pushes Nollywood’s technical boundaries.

Verdict

6/10

Colour of Fire is showing in Cinemas nationwide.