Kemi Adetiba has done it again.
It’s been barely two weeks and Kemi Adetiba has got all of Nollywood and the global film community rattled, in a good way.
When Kemi Adetiba steps behind the camera, expectations rise. And rightly so. From the glossy rom-com heights of The Wedding Party, which took filmmaking in Nollywood to a whole new level, to the intensity of King of Boys, Adetiba has carved out a signature style in Nollywood: visually bold, emotionally racking, wildly relatable, and politically relevant.
Although no stranger to risks, “To Kill a Monkey” (TKAM), her newest Netflix original, is, to her admission, Kemi Adetiba’s riskiest project yet.
The series is a searing 8-episode descent into the world of cybercrime, betrayal, power, and the price of survival.
Co-produced by Adetiba and her brother Remi Adetiba under Kemi Adetiba Visuals, it premiered globally on Netflix on July 18, 2025, and features an unlikely ensemble cast that proved to be as bold as Kemi herself.
From William Benson to Bucci Franklin to Lillian Afegbai, Stella Damasus, Bimbo Akintola, Chidi Mokeme, Michael Ejoor, Ireti Doyle, Sunshine Rosman and many others, each of them executed their roles in characters we won’t be forgetting for a long time.
Plot Summary (Spoiler-Free)
Efemini(William Benson) is down on his luck. A principled man in a broken system, facing the challenges of possibly 200 average Nigerians, from failed job hunts to job loss, poverty, frustration and soon desperation. That is, until an old friend, Oboz(Bucci Franklin), reappears, now a flamboyant and successful cyber-crime maestro. Efe is offered a way out and soon descends into a life he could have sworn he would never be a part of.
The story goes from 0 to 100 real quick with the introduction of an old school cybercrime boss known as Teacher (Chidi Mokeme), who begins to threaten Efemini and Oboz in a failed attempt to lay claim to 30% of their earnings.
On the other side of the law is Mo, a no-nonsense cybercrime investigator still recovering from a personal tragedy, who becomes highly suspicious of the duo’s wealth and is determined to dismantle the syndicate from the inside.
Everything from family, love, friendship, trust and survival is on the line as all the main players enter into a rat race neither of them are totally prepared for.
Review
Before we go too far, Kemi Adetiba already lauded how dedicated her husband, Oscar Heman-Ackah, was, especially to the scoring of the film’s music, and we just want to say, “We’re right there with you, Kemi.” The soundtrack and Score were atmospheric, building tension where needed and knowing when to fade away. It was excellent in execution and in what it translated to the audience.
To say the least, TKAM is such a head turner. You’d think you know what’s going to happen, but the way that it does, and especially the intricate character arcs, it takes you on a wild rollercoaster ride.
It’s one thing to have a good plot, with solid characters, but it’s another to have actors who are right there with you and deliver your vision.
First of all, Oboz was either clearly written for Bucci Franklin, or he just played it all too well. Bucci Franklin as Oboz is a study in contrasts: magnetic yet menacing, loyal yet manipulative. We’ve seen Bucci Franklin before, but trust me, you haven’t seen him in this way before. Franklin doesn’t portray Oboz as a typical villain; he portrays him as a man shaped by trauma and street survival. His breakdowns are just as riveting as his moments of swagger.
Then, at the heart of TKAM is William Benson as Efe, who delivers a breakthrough performance. The transition from your everyday hustling Nigerian to a man navigating the world of cybercrime with his smarts is not like what we’re used to. He doesn’t immediately become pompous and egotistical; in fact, he tries hard to stick to his principles until the people he trusted the most push him to the edge.
Bimbo Akintola in the role of Mo, grief-stricken yet determined to rise above the ashes; Lilian Afegbai, totally unforgettable as Idia; and Stella Damasus’ initial quiet depth as Nosa, until wealth intoxicates her, making her a thorn in Efe’s flesh. Safe to say Kemi Adetiba, like what we saw with Sola Sobowale in King of Boys, knows exactly how to bring out the best in every actor she works with.
The location/Set Design shows that some homework was done. From cramped, slum-like apartments reflecting the initial state of Efemini’s finances to the upscale home and neighbourhood when luck smiled upon him, to the significant upgrade of Oboz’s home when they began to make more, to dimly lit workstations for the cybercrime syndicate and safehouses, every space feels authentic.
Cinematography was befitting for each scene, each mood and each interaction; no Lekki-Ikoyi link bridge was sighted this time, thankfully.
Costume and Makeup told their own story. Efe’s shift from neutral tones to darker, bolder pieces echoes his transition. Oboz’s looks scream of wealth, insecurity and rawness in equal measure.
Idia’s wardrobe was perhaps one of our favourites. You knew Idia was coming from miles away, if it wasn’t the bling, then it was definitely the rattling of her bold accessories or at the very least, those 3-inch pointed nails, or perhaps her thick accent with her calling out her “husbeeend”
The not-so-subtle nods to culture, from native Edo names to linguistic references here and there, didn’t go unseen either.
While some of the dialogue felt a little over flogged it can easily be overlooked in the grand scheme of things.
We cannot but applaud Kemi Adetiba’s use of silences, breaths, stillness and emotional build up. She showcased a rare patience in African storytelling.
Our Take
TKAM brilliantly holds up a mirror to viewers. The script doesn’t preach. It presents. It allows viewers to root for a criminal, distrust a cop, love a traitor, and question their own sense of justice.
There are no real heroes here, just people trying to breathe under water.
Safe to say Kemi Adetiba once again cemented her place as one of Nollywood’s most fearless storytellers, and her cast turns in performances that will haunt you.
Watch it. Feel it. Debate it. And most of all, don’t judge too quickly.
To Kill a Monkey (TKAM) makes a Bold, Daring and Unflinching statement that shook us all to the core.
I want to say Kemi Adetiba really pulled out all the stops for this, but then again, who knows what she has planned next?
