‘Miles Away From Home’ aims for emotional depth but falters in delivery

Miles Away From Home, produced by Bimbo Ademoye, is a drama about migration, with clear emotional intent but uneven execution. With a story and screenplay co-written by Ademoye and Jennifer Nkem-Eneanya, and directed by Great Val-Edochie, the film streams on Ademoye’s YouTube channel, aiming to tell the heartfelt narrative of struggle, survival, and self-discovery. At 2 hours and 1 minute, the film has enough room to soar, but often chooses to circle the runway.

Plot

The film follows Deji (Timini Egbuson), a young man crushed by poverty, but who has the steady consolation of his grandmother, Sisi Eko (Barbara Soky), and his girlfriend, Farida, who was prayerful and supportive, at least, so he thought, not until he caught her with another man. His hope dashes away, despite meeting ends meet, he struggles, and life keeps serving him, compelling him to leave his ailing grandmother behind in search of a better life abroad. His journey is fraught with hardship, hostile workplaces, unstable housing, culture shock, and softened only by his encounters with Mariam (Bimbo Ademoye), whose quiet strength masks her own troubled past. Does distance bring Deji the greener pasture he seeks? What would become his fate?

Review

Technically, the film has all the right ingredients for a powerful story about migration. But while the core idea is compelling, the plot’s architecture falters, especially from the second act onward. Key moments are narrated instead of being shown, which dilutes emotional resonance. Scenes stretch into dialogue-heavy exchanges that stall momentum. And despite the potential for dual-character exploration, Mariam’s arc remains mostly verbal, a missed opportunity that weakens the overall emotional gravity.

Despite his star power, Timini Egbuson struggles to inhabit the character Deji. His performance feels emotionally distant, especially in a story that requires lived-in vulnerability. Viewers expecting rawness may sense a detachment that prevents the character’s suffering from truly landing.

By contrast, Barbara Soky is a standout. Her portrayal of Sisi Eko is warm, measured, and believable, an anchor of authenticity in the film. Ademoye delivers her usual expressive, nuanced performance as Mariam, though her chemistry with Egbuson feels more sibling-like than romantic.

Arielyn Bassek’s Mr Pascal, the overbearing hotel manager, tips into caricature. While the character is intended to be outrageous, the exaggerated delivery often feels distracting and out of sync with the film’s tone.

Supporting performances, including Sandra Okunzuwa as Farida, are commendable but underutilised, with some characters disappearing from memory almost as soon as they exit the screen.

Great Val-Edochie begins strong, with tight pacing, grounded framing, and clear tonal intention. But by mid-film, the direction loses its grip. The lack of subplots, overreliance on talk, and frustrating omissions (for instance, unshown backstories or abrupt character turns) flatten what should have been an emotionally layered journey. The ending, clearly designed to set up a sequel, feels abrupt, raising more questions than it resolves.

The most distracting flaw is the lighting, which undermines several scenes and diminishes the cinematography. Whether caused by equipment or technique, the visual inconsistency is hard to ignore. The picture quality occasionally dips below what today’s Nollywood digital productions routinely deliver. On the positive side, location choices shine; Cotonou is refreshing, offering a sense of place that adds texture to the narrative. Costume and makeup are generally acceptable, though Mr Pascal’s wardrobe raises eyebrows in more ways than intended. The soundtrack is functional but forgettable, fading into the background without offering emotional lift.

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However, at its heart, Miles Away From Home champions perseverance. Despite his missteps, Deji embodies resilience, and the film underscores how disappointment can redirect destiny. The first moral the film drives home is unmistakable: Family love still comes first, no matter what. Deji’s every choice is tethered to the grandmother waiting for him at home. This emotional stakes-setting is one of the film’s most substantial achievements. Deji’s suffering is not fueled by lofty ambition but by survival, his and hers. The sacrifice is gut-wrenching precisely because it is so common. Across Africa, countless young adults make the same painful trade: opportunity over proximity, hope over home.

With tighter editing, stronger plot development, and more grounded performances, the sequel could well deliver the film this story deserves.