Three years after its theatrical debut, Femi Adebayo’s cinematic masterpiece King of Thieves continues to resonate as a landmark achievement in Nigerian filmmaking, having transformed the trajectory of culturally rooted storytelling within Nollywood’s competitive landscape.
The 2022 epic thriller, known in Yoruba as Agesinkole, generated over 320 million naira at the box office and established new benchmarks for indigenous language productions during a period when culturally curated movies struggled to secure adequate financing against mainstream industry offerings. The film premiered at IMAX Cinemas in Lekki, Lagos on 4 April 2022, beginning its nationwide theatrical run four days later on 8 April.
The production made an unprecedented 43 million naira within its opening three days, a feat Femi Adebayo described as historic for Nollywood. Speaking after the release, the actor and producer noted that no Nigerian film had previously achieved such box office numbers in a comparable timeframe, particularly during the Ramadan period when cinema attendance typically declines. Within three weeks, the movie had surpassed 170 million naira before ultimately crossing the 320 million threshold.
Directed by the duo of Tope Adebayo and Adebayo Tijani, and produced by Femi Adebayo’s Euphoria360 media in collaboration with Niyi Akinmolayan’s Anthill Studios, King of Thieves tells the story of Ajeromi, a prosperous kingdom disrupted by the arrival of Agesinkole, a formidable bandit driven by vengeance. The narrative weaves together themes of justice, ancestral wrongs and the consequences of political corruption within pre colonial Yoruba society.
The cast assembled for the project represents a powerhouse of Yoruba cinema talent, featuring Femi Adebayo in the title role alongside Odunlade Adekola, Toyin Abraham, Ibrahim Chatta, Lateef Adedimeji, Aisha Lawal, Adebowale Adedayo popularly known as Mr Macaroni, and Samuel Perry known as Broda Shaggi. The production took more than a year to complete, with significant challenges including coordinating schedules for the ensemble of leading actors, securing appropriate locations that captured the authentic historical atmosphere, and managing security concerns at shooting sites.
Adebayo revealed that the film’s production budget exceeded 100 million naira, marking it as one of the most ambitious Yoruba language projects undertaken at that time. The investment manifested on screen through meticulous attention to costume design, elaborate set construction, and careful location scouting that showcased Nigeria’s natural beauty through hills, rivers and forest landscapes serving as authentic backdrops for the precolonial setting.
The film’s sonic landscape proved equally compelling. Composers Tolu Obanro and Adam Songbird created a soundtrack that integrated traditional Yoruba rhythms with contemporary film scoring, transforming key scenes into visceral cultural experiences. The music and chants, layered with emotion and traditional instrumentation, became what many critics described as the film’s emotional backbone, ensuring the heritage message resonated through every note and vocal performance.
The cinematography employed a deliberate colour palette shift between modern framing sequences and ancient kingdom scenes, creating visual distinction that enhanced the storytelling. Props and costumes were crafted specifically to reflect historical accuracy and cultural authenticity, contributing to the film’s epic scale and immersive quality.
King of Thieves received widespread recognition at the 2023 Africa Magic Viewers’ Choice Awards, garnering eight nominations including Best Overall Movie, Best Actor in a Drama for Femi Adebayo, Best Director for the directing duo, Best Writer, Best Picture Editor, Best Makeup and Best Soundtrack. The production won the award for Best Art Director, with Wale Adeleke receiving recognition for his visual design contributions that helped establish the film’s distinctive aesthetic.
The narrative structure employs an omniscient narrator who speaks in English while dialogue unfolds in Yoruba, a storytelling choice designed to make the film accessible to broader audiences while maintaining cultural authenticity. The film opens in a contemporary art gallery where a painting depicts a gallant warrior on horseback, serving as an entry point into the historical tale that follows.
Critics praised the performances, particularly the dynamic between Adekola’s King Adegbite and Adebayo’s Agesinkole, whose confrontation scenes captured the arrogance of new rulership against the rage of a wronged man seeking justice. Ibrahim Chatta’s portrayal of Oguntade, a generous hunter whose parallel storyline converges with the main plot, added depth to the film’s exploration of tradition, sacrifice and spiritual obligation.
Following its successful theatrical run, King of Thieves debuted on Amazon Prime Video in early 2023, extending its reach to international audiences and cementing its status as a cultural ambassador for Yoruba storytelling traditions. The film demonstrated that indigenous language productions could achieve both commercial success and critical acclaim when supported by substantial investment, skilled craftsmanship and compelling narratives rooted in cultural heritage.
Industry observers note that King of Thieves paved the way for subsequent big budget Yoruba epics and proved that audiences remained hungry for stories reflecting African ancestry and tradition. The film’s commercial performance, particularly impressive given ticket prices of approximately 1,500 naira during its theatrical run, suggested that the market for culturally authentic Nigerian cinema extended far beyond niche audiences.
Femi Adebayo, who comes from an acting dynasty as the son of veteran actor Adebayo Salami, stated that producing King of Thieves fulfilled a longstanding dream to create a traditional film showcasing the beauty of Yoruba culture to the world while making social commentary about leadership and governance. He cited inspiration from the works of theatrical pioneer Hubert Ogunde, whose productions in earlier decades similarly celebrated Yoruba cultural traditions through dramatic storytelling.
The film’s legacy extends beyond its box office achievements and awards recognition. It represents a reclamation of narrative space for indigenous stories within an industry increasingly influenced by Western storytelling conventions, proving that local folklore and traditional narratives remain relevant and commercially viable when presented with production values matching contemporary audience expectations.
Source: newsghana.com.gh
