The buzz at the 2026 Cannes Film Festival is centered on the Esiri brothers, Arie and Chuko, whose sophomore feature, Clarissa, has taken the festival by storm.
Following the critical success of their debut Eyimofe (This Is My Desire), the twin filmmakers have moved from the gritty realism of working-class Lagos to a lush, “mesmeric” exploration of Nigeria’s high society.
The movie is a bold, modern reimagining of Virginia Woolf’s classic novel Mrs Dalloway, transposed to the vibrant and complex backdrop of contemporary Lagos.
The story unfolds over a single day as a high-society hostess (played by Sophie Okonedo) prepares for a grand evening party. Through restrained flashbacks and a “seductive” visual style, it contrasts the lives of the ultra-wealthy with the psychological scars of a soldier returning from the fight against Boko Haram.
The film features a powerhouse ensemble, including David Oyelowo, Ayo Edebiri (the The Bear star making a notable Nigerian cinema turn), Toheeb Jimoh, and India Amarteifio.
Shot on 35mm film, critics have praised its “painterly” quality. Interestingly, the twins’ differing perspectives; Arie is visual and left-handed, while Chuko is narrative-focused and right-handed, is often cited as their “superpower” in creating such a balanced, multi-layered atmosphere.
Critics from The Guardian and The Hollywood Reporter have used terms like “seductive,” “affecting,” and “mesmeric” to describe how the film captures the “petty snobberies and private torments” of the Nigerian elite.
A standout motif mentioned by reviewers is a wonky mosaic in the protagonist’s home shaped like Nigeria; no one in the film can quite set it straight, serving as a poignant metaphor for the nation’s ongoing search for stability.
The Esiris are part of a massive “African Wave” at Cannes 2026. While Clarissa premiered in the Directors’ Fortnight (Quinzaine des Cinéastes), it was immediately snapped up for international distribution by NEON—the same powerhouse that distributed Parasite and the last several Palme d’Or winners.
Life imitated art during the Cannes premiere when a power cut (a recurring theme in the film) seemingly caused the projector to jam during the opening credits. After a brief delay, the screening resumed to a standing ovation that lasted nearly ten minutes.
