october 1 movie reviews

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As Nigeria prepares for independence from the British in 1960, a seasoned police detective rushes to find the serial killer slaughtering its native young women. As Nigeria prepares for independence from the British in 1960, a seasoned police detective rushes to find the serial killer slaughtering its native young women. As Nigeria prepares for independence from the British in 1960, a seasoned police detective rushes to find the serial killer slaughtering its native young women.

• Kunle Afolayan
• Tunde Babalola
• Kayode Olaiya
• Ademola Adedoyin
• 17 User reviews
• 3 Critic reviews
• 4 wins & 5 nominations

Top cast 31

• Inspector Danladi Waziri
• Sergeant Sunday Afonja
• (as Kayode Aderupoko)

• Prince Aderopo

• Rev. Dowling

• Winterbottom

• Corporal Omolodun
• Canon Kuforiji
• (as Ibrahim Shatta)
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Most of the Ancient materials used in the movie were imported as they were not ready in the country during filming.
• Soundtracks Mama E Written by ' Dr. Victor Abimbola Olaiya' Performed by 'Dr.Victor Abimbola Olaiya'

User reviews 17

• jhconway-95793
• Apr 29, 2023
• How long is October 1? Powered by Alexa
• October 3, 2014 (Nigeria)
• Official Facebook
• official website
• Lagos, Nigeria
• Golden Effects
• See more company credits at IMDbPro
• $2,000,000 (estimated)

Technical specs

• Runtime 2 hours 28 minutes

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Directed by Kunle Afolayan

September 1960. As Nigeria prepares for independence from the British, a seasoned police detective rushes to find the serial killer slaughtering its native young women.

Sadiq Daba Kehinde Bankole Demola Adedoyin Kayode Aderupoko David Bailie Kanayo O. Kanayo Bimbo Manuel Ibrahim Chatta Femi Adebayo Kunle Afolayan Deola Sagoe Fabian Adeoye Lojede Nick Rhys Colin David Reese Lawrence Stubbings Ifayemi Elebuibon Abiodun Aleja

Director Director

Kunle Afolayan

Producer Producer

Writer writer.

Tunde Babalola

Editor Editor

Cinematography cinematography.

Yinka Edward

Lighting Lighting

Lanre Omofaye

Production Design Production Design

Special effects special effects.

Lola Maja-Okojevoh

Composer Composer

Kulanen Ikyo

Sound Sound

Golden Effects Pictures

Primary Language

Spoken languages.

English Hausa Igbo Yoruba

Releases by Date

01 oct 2014, 14 apr 2015, releases by country.

• Digital 16 Netflix

148 mins   More at IMDb TMDb Report this page

Popular reviews

Review by The Voluptuous Horror of Sally Jane Black

As soon as a certain character appeared, I said, "He's the killer." I doubted myself immediately, because it seemed too obvious, but no, he was the killer. Throughout the film, I found myself easily predicting what was going to come next, though at no point did this spoil the film for me. Still, the moment that most surprised me certainly took the film to a new level, when a blade flashes out in the dark and slices a neck cleanly, killing a likable character (but not the one I thought would die). It was something I should have guessed, but the film presented it in a way that just managed to avoid predictability (for me).

What makes the film stand…

Review by EudoraFletcher ★★★ 4

What caught my eye in this Nigerian production is that middle class people here behave like Europeans: They are dressed in western clothes, shake hands to say hello, sit down in a restaurant, drink wine and speak English with each other. All in all, it appears to me as if the movie would have been produced for an international audience. Since I know as good as nothing about Nigeria it could be that people actually behave and speak as they do in “October 1”. Two policemen who are investigating a murder case speak a hilarious pidgin English that is very hard to understand. But funny it is for sure! The camera is ok and the cut is a little bit…

Review by Disappointed113 ★★½

This is a film that has a lot to say about colonialism and cultural genocide but those themes are hidden behind a thick layer of muck. To put it simply, the technical aspects here aren’t very good. There is consistently way too much coverage and cutting, the editing is constantly jarring, the score half of the time doesn’t fit the scene and feels overbearing, etc. However, despite these glaring flaws, the film contains enough moments of brilliance that I cannot dismiss it so easily. The scene where the children mispronounce sovereign as suffering is such a nice little touch that I’m still drawn to it. The contrast between the classes is well documented and always interesting. It’s just quite unfortunate…

Review by Megan ★★★★

I've only seen a handful of Nollywood movies but October 1 is the first to really captivate me. It's a fantastic story working both as a period piece and as a thriller. Unlike other Naija films it doesn't ramble meaning every scene actually has a purpose. This is by no means a short film but the two and a half hours feel earned and purposeful. They tell the story on tribalism, statehood and power in a transitioning nation. Plus I could watch that Akote countryside for days.

Review by crush mes yeux ★★★½

solid crime thriller although the villain is revealed right at the beginning (queen elizabeth)

Review by SpaceBacon ★★★½

When talking about the long lasting effects of the British Empire noone ever talks about the huge market its created in foreign movie industries to play one note horrible Englishmen

Review by GoreWhoreGourmet ★★★½

I’m leaving for Africa tomorrow so I thought it would be interesting to check out some African films. Plus I don’t think I have ever seen a film that came directly from that continent…

All in all this was a standard crime film, however, the music was displaced to the point where I got the giggles. Serene spa sounds were not what I would be expecting to hear when police officers would be looking at a dead body.

Christianity brings out the worst in so many fucking people all over this world. This movie was a solid three until Koya ’s speech.

Menu: Tea Egusi soup 

Review by dsbfq ★★★½

This review may contain spoilers. I can handle the truth.

The main reason I rated this a 3½ is because it's an average movie with good concepts but flawed executions imo.

SPOILERS !!

Waziri's epiphany regarding the "X" carvings being a cross, and that leading him to find out Aderopo's background and subsequently his motive was a bit cliche, but I suppose it's good enough. It's not a thing I would get mad about, and believable enough. In the climax though, I thought Aderopo monologing about his plans and motives to Tawa felt a little corny and almost made him look like some sort of stereotypical evil villain. I also wish they would explore more of Aderopo's mental state and the affects his trauma had on him. I feel like…

Review by amanduuuh ★★★½

This was my first step into Nollywood and I was pleasantly surprised. Interesting plot with the historical setting and political undertones adding depth to the characters. Easy to identify who the suspect is in the first 20 minutes but it was still enjoyable to see the characters point fingers. The Inspector was a great unreliable narrator and his character felt very consistent and real. The town dynamic made sense. Important topic of male sexual assault. The negatives were there as well. The accents of the British would have made more sense if they were the aristocratic flavor. The inspector speaking out at them was nice but it just didn't feel like they would have let that slide. He also had a bit of plot armor in the woods

The plot was good with just a few moments that felt out of place. Overall great movie!

Review by Seventh_Persona ★★★

As Nollywood entered a new and improved technical era of big-budget productions after decades of cheaply made home video releases, so too did the themes of their movies start to mature into a deeper social, historical and cultural analysis of what it meant to be Nigerian. There are definitely some rough edges to Kunle Afolayan's October 1 , particularly in the sound and editing departments. However, it's a far cry from the Living in Bondage days of Nigerian cinema. Similarly, the murder mystery aspect of the film is not all that impressive in comparison to films like Memories of Murder or Manhunter , as it's pretty obvious from the onset who the killer is, and there isn't a real murderer-investigator dichotomy/character foil…

Review by maddiams

tried to get into this one but the crunchy sound quality was really distracting for the half an hour i put into it. fairly decent, might give it another go at some point.

Review by Wade Garrett ★★★½

This murder mystery is clearly more concerned with colonialism and the taint of European culture on Africa. Where the performances may fall short, they make up for in earnestness (except for the white actors, they were terrible). Overall, possibly the most amicable movie about rape, murder, and cultural genocide.

Entry #25 (Nigeria) in my March Around the World Challenge

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How October 1 Became a National Treasure

Collage by THE REPUBLIC. Ref Photo 2: BZ / UN PHOTO.

THE MINISTRY OF ARTS / FILM DEPT.

• Yinka Adetu
• September 29, 2024

T en years ago, in October 2014, Kunle Afolayan’s critically acclaimed cinematic thriller October 1 was released to widespread praise from critics, film lovers, and the Nigerian public. The film, a product of great vision, powerful direction, and excellent scriptwriting, was lauded for its brilliance. Even after a decade, October 1 has not lost its charm, thematic resonance, or cinematic excellence. It remains an evergreen Nollywood classic, deserving of high praise. Early reviews lauded the film’s cinematography, production design, costuming, plot, writing, and acting. In his review for This Day , Nigerian novelist and critic Toni Kan, described October 1 as ‘a movie with a royal touch’. Kan also declared that the film is so masterfully crafted that ‘there is almost nothing wrong with it.’ Similarly, in his review for The Trent , Onyeka Nwelue, Nigerian filmmaker, and director of Other Side of History , a film that relived the early life story of Colonel Ojukwu, commended Afolayan’s work, calling it ‘the work of a genius’.  

A NATIONAL PROJECT

While these reviews rightly emphasize the film’s technical achievements, they have not fully explored its national significance. October 1 is more than just a cinematic masterpiece; it is a national treasure—an important filmic representation of Nigeria’s identity, culture, and traditions. The movie has the potential to stimulate meaningful conversations about crucial aspects of Nigerian history and societal issues, offering a space for collective reflection. Born from Afolayan’s desire to produce a national movie that appeals to both younger and older audiences, October 1 is a successful attempt at using cinema to project and interrogate a national image. His vision was to make the film so culturally rich that it resonates deeply with the sensibilities of the time. It is not merely about setting it in Nigeria during the 1960s; it is also about faithfully capturing the look, sound, and atmosphere of the era. This elevates the film as a national project. In addition to receiving significant backing from the Nigerian Federal Government through the Project Act-Nollywood Program , October 1 successfully utilizes cinema to project a vivid portrayal of Nigeria’s colonial past.  

From its title, October 1 immediately signals a political motif, emphasizing the significance of that date to its audience. While it unfolds as a crime thriller centred around a murder mystery, Afolayan’s primary aim extends beyond the plot. The story is a vehicle for exploring deeper themes, and the film’s title reflects its broader political intent. This is further reinforced by the narrative, which is set in colonial Nigeria, just before the nation’s independence. The film opens on 1 September, 1960, a month before Nigeria gains its freedom. In the fictitious town of Akute, a serial killer is on the loose, preying on young female virgins. His methods are brutal: strangulation, mutilation, and rape. Determined to solve the case before it draws the attention of the colonial government, District Officer Rupert Winterbottom enlists the service of Danladi Waziri, an experienced police officer from northern Nigeria with a reputation for solving local crimes. Waziri’s mission is to capture the killer before the country’s independence celebrations are marred by crisis. This sets the film in motion.

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A cinematic attempt at reliving nigeria’s colonial state.

October 1 is a period piece set in the days leading up to Nigeria’s independence in 1960. It is a murder mystery laced with political undertones. While the film offers a modern-day cinematic exploration of colonial Nigeria, its depiction is both nuanced and well-represented. As Nigeria is on the verge of gaining freedom from Britain, there are celebrations across the country. At the colonial-style mansion of the district officer, Waziri arrives to submit his report on the mysterious crime he was assigned to solve in Akute. Although he had previously submitted a different version of events, the truth begins to unravel afterwards. As Waziri recounts the case, the film shifts between the present—three colonial officers interrogating Waziri—and flashbacks to events from the previous month.  

In the flashback, Waziri boards a train at a railway station, surrounded by the faces of passengers brimming with excitement over Nigeria’s impending political freedom from its colonial master. His journey takes him to Ibadan, where he is tasked with investigating the Akute killings. The film briefly dramatizes Funmilayo Ransome-Kuti’s renowned struggle in Abeokuta, emphasizing that Britain’s decision to grant Nigeria political autonomy was influenced by growing resistance to its indirect rule and class-based governance. Active representatives from the masses, like Ransome-Kuti, pressured the colonial government to reconsider its policies, which largely disadvantaged ordinary Nigerians. These flashbacks serve to interrogate key historical issues. In doing so, Afolayan does not only explore Nigeria’s colonial past but also seeks to deconstruct history itself.  

Few Nollywood films have captured Nigeria in its colonial state, and Afolayan’s October 1 is a trailblazer in this regard. Imoh Umoren’s biopic Herbert Macaulay is one of the few other films that retrace Nigeria’s colonial history but it is limited to a personal retelling. In October 1 , colonial Nigeria is vibrantly portrayed, brimming with authenticity. The film compellingly captures the atmosphere of the 1960s, with its cinematic exploration elaborately dramatized with the period’s aesthetics. From the brown shorts and khaki uniforms of the police officers to the iro and buba of the Yoruba, the nomadic portrayal of the Hausa through the character Dangari, and the Isiagu caps of certain Igbo characters in Akute, Afolayan demonstrates a keen awareness of Nigeria’s cultural diversity. He is deeply conscious of the history he is dramatizing, incorporating various aspects of the country’s cultures, people, and languages. He skilfully integrates the four most populous languages in Nigeria—English, Hausa, Yoruba, and Igbo—highlighting the challenges of communication and translation between ethnic groups. He also weaves in traditional Yoruba beliefs, such as Ifa practices, which the Oba of Akuteland and his envoys resort to in their attempt to identify the serial killer terrorizing the community. Through this representation, Afolayan explores ethnic rivalry and political tensions, which have long been part of the relationships between Nigeria’s most populous ethnic groups.   

In addition to these political and ethnic tensions, Afolayan does not shy away from depicting the scepticism surrounding independence, grounding the film firmly in the historical era it seeks to recreate. This scepticism is woven into the film’s ambition. Despite some criticisms that the film does not fully explore the complexity of a murder mystery, with certain events dragging or diverging from the main plot, it can be argued that the murder mystery is a narrative device rather than the central focus. As emphasized, the film’s true aim is political, using a detective story set in history to explore the tensions surrounding Nigeria’s independence. Afolayan skilfully highlights these tensions. Characters like Waziri and Mr Olaitan, the school headmaster, are optimistic, viewing independence as a pivotal moment that will advance the country. In contrast, Prince Aderopo of Akute is more sceptical, believing that independence has come too early, warning that the nation may soon find itself at war with itself.  

While critiquing Nigeria’s colonial government, Afolayan does not shy away from addressing key elements of British governance, particularly the role of Christian missionaries. Towards the end of the film, when the serial killer is revealed, the British missionary system is harshly criticized. Reverend Dowling had offered scholarships to two brilliant boys from Akute, giving them the opportunity to study under the missionary’s care. However, this seemingly benevolent gesture led to their abuse. One of the boys ran away from the mission school and later killed the reverend. The other boy became a serial killer, vowing to murder six girls to represent the six years of torture and abuse he suffered at the mission school. He inscribed a cross on his victims as a mark of his vengeful act. His final intended victim, Miss Tawa, was a childhood friend who had grown up with him. The inclusion of Reverend Dowling, along with the recruitment of Prince Aderopo and Agbekoya under his care, represents how the British colonial government took control of Nigeria, exploiting its resources and governance. Through this, Afolayan draws a parallel between the abuse suffered by the boys and the larger exploitation of Nigeria under British rule.

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Postcolonial reflection and the burden of colonial legacy.

October 1 is more than just a historical crime thriller that weaves Nigeria’s colonial past into a powerful narrative; it is a cinematic production that continues to resonate with the present. By skilfully blending history, culture, and politics, Afolayan elevates his film into a postcolonial masterpiece that speaks directly to the enduring legacy of colonialism and the complexities of nationhood. Beyond its cultural and historical significance, October 1 is a postcolonial critique of the lingering effects of colonialism. It is a crucial artefact, not just for its cinematic brilliance, but for its bold interrogation of national identity, memory, and the unfinished work of decolonization. In reflecting on Nigeria’s 64 years of independence, October 1 remains an essential touchstone for understanding the ongoing challenges faced by the country.   

Set on the cusp of Nigerian independence in 1960, the film’s story extends beyond its murder-mystery plot, using the investigation as a vehicle to explore deeper, systemic issues rooted in Nigeria’s colonial experience. The film’s central narrative reflects a Nigeria on the verge of political autonomy but still held in the grip of colonial legacies that manifest in its governance, social structures, and ethnic divisions. The colonial officer, Rupert Winterbottom, represents the face of the British empire, desperate to keep order and save face as the end of colonial rule draws near. His role is one of oversight and control, symbolic of a colonial authority that is willing to manipulate events and suppress local crises to preserve the illusion of a stable transfer of power. His summoning of Waziri, a northern police officer, to solve the murders in Akute highlights the colonial government’s attempt to maintain control over the Nigerian people, even as they prepare to relinquish formal power. In postcolonial terms, this reflects the continued control of former colonial powers over their colonies through economic, cultural, and political means—neo-colonialism. Nigeria may be on the verge of independence in the film, but the mechanisms of control—whether through law enforcement, economic policies, or cultural impositions—remain firmly in place. This resonates with contemporary Nigeria, where issues such as foreign influence in governance, economic dependence on global powers, and internal divisions fuelled by colonial boundaries continue to challenge the nation’s postcolonial identity.  

Winterbottom’s decision to frame Dangari as the serial killer on the eve of Nigeria’s independence celebrations, despite evidence pointing to Prince Aderopo, highlights the deep-rooted systemic injustices of colonial rule. This act of coercion, forcing Waziri to ensure Dangari takes the blame for the murders, mirrors the historical exploitation and manipulation by colonial powers. Afolayan brilliantly portrays these conflicts, reinforcing the notion that Nigeria, at the dawn of its independence, inherited a political, economic, and social system riddled with corruption and injustice. By showcasing how Winterbottom protects Aderopo, even in death, Afolayan underscores the persistence of power imbalances and the enduring legacy of colonialism, where the privileged are shielded at the expense of the marginalized. This reflection points to how postcolonial Nigeria continues to grapple with the aftershocks of systemic oppression, reminding us that the struggles of the past still shape the nation’s present realities.  

Afolayan also uses the character of Prince Aderopo to interrogate the psychological and cultural effects of colonialism. Educated in Britain’s school system and influenced by Western ideologies, Aderopo becomes a figure torn between two worlds: the traditional values of his people and the Westernization imposed by his colonial education. His eventual descent into violence reflects the deep psychological scars left by colonialism, where the colonized are alienated and left in a liminal space, neither fully belonging to their pre-colonial identity nor fully integrated into the Western world. In this sense, Aderopo becomes the embodiment of Frantz Fanon’s ‘colonial subject’, whose fractured identity leads to an internal conflict that manifests in tragic ways.  

As Nigeria celebrates 64 years of independence, October 1 holds up a mirror to the nation’s postcolonial condition. The film urges viewers to reflect on how much has changed since 1960 and how much of Nigeria’s colonial legacy remains entrenched in its current political, social, and economic structures. The ethnic tensions, political scepticism, and unresolved grievances depicted in the film continue to shape the Nigerian state today. The film invites us to look back at where Nigeria has come from, examine the paths we have taken, and consider how we can continue to grow and thrive in the face of our complex past ⎈

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