Lisabi The Uprising Free Download is a high-stakes attempt at reintroducing one of Yoruba history’s iconic revolutionaries—Lisabi Agbongbo Akala—to a modern audience. This circuits aimed to weave heroism, rebellion, and cultural pride into one cinematic package. Set against the backdrop of the Old Oyo Empire, the film narrates a people’s struggle against tyranny, channeling the spiritual and strategic power of Lisabi to ignite hope.
Unfortunately, while the movie dazzles visually and leans into the grandeur of Yoruba aesthetics, it falters in core storytelling. This blog takes an in-depth look at the film’s historical significance, performance quality, technical execution, and overall impact on the African cinematic landscape.
Release Date
Lisabi the Uprising 2024 movie debuted on Circuits on September 27, 2024. The timing coincided with Nigeria’s independence month, symbolically linking the nation’s past and present struggles for autonomy. It serves as part one of a two-part series, with the sequel, Lisabi: A Legend is Born, scheduled for release in January 2025.
Cast
- Lateef Adedimeji – Lisabi (Lead Role)
- Ibrahim Chatta – Sangodeyi, the fearsome leader of the Ilari
- Odunlade Adekola – Alaafin of Oyo
- Femi Adebayo – King Olodan
- Debo “Mr. Macaroni” Adeyemo – Osokenu
- Mo Bimpe Adedimeji – Key Supporting Role
Crew
- Director – Niyi Akinmolayan
- Screenplay – Yinka Olaoye (Co-writer)
- Cinematographers – Barnabas Emordi, Nora Awolowo
Screenshots
Review
The historical foundation of Lisabi the Uprising 2024 movie is rich, rooted in real events that shaped Egba resistance against the Oyo empire. Yet, the film struggles to bring that history to life convincingly. The lack of a credited historian is evident. From props to set designs, there’s a consistent disconnect between the story’s supposed time period and what appears on screen.
The architecture of family compounds is oversimplified, costumes lack cultural texture, and important items like city walls and trade artifacts (snuffboxes, mirrors, bicycles) are conspicuously absent. The film paints a primitive picture of the Yoruba people, a culture known for its philosophy, innovation, and complex political systems.
The cinematography is undeniably the film’s strongest suit. Sweeping shots of pre-colonial landscapes, battlefields layered with dust and fire, and haunting close-ups create a striking atmosphere. The stillness following Osokenu’s death is particularly impactful, showing the emotional cost of rebellion.
Despite these visual achievements, the storytelling lacks weight. Lisabi’s transformation from a soft-spoken farmer to a mystical hero feels rushed and unconvincing. His character arc is barely fleshed out, undermining the gravitas his name commands in Yoruba folklore.
The performance by Lateef Adedimeji doesn’t fully capture Lisabi’s revolutionary essence. While Adedimeji shines in quieter scenes, he doesn’t evoke the spiritual or strategic brilliance that history associates with the real Lisabi.
Ibrahim Chatta delivers a gripping performance as Sangodeyi. His portrayal is intense, layered, and consistently terrifying. He effectively personifies the fear that Egba citizens felt under Ilari oppression. In contrast, the titular hero’s journey feels underwhelming, and even with moments of mystical insight, Lisabi doesn’t fully come to life.
Debo Adeyemo’s Osokenu is memorable but unrealistic. His battle scenes, where he defeats multiple Ilari without training, reduce the credibility of the film’s conflict. Odunlade Adekola, often known for dramatic flair, offers an unexpectedly restrained performance as the Alaafin. His interpretation is regal yet distant—perhaps the most authentic character in the film.
Director Niyi Akinmolayan’s influence from Indian cinema—particularly Baahubali and Magadheera—is unmistakable. While this adds flair and epic-style dramatization, it also dilutes the story’s authenticity. The final act introduces supernatural elements that are stylistically bold but narratively distracting.
Historical epics require balance. And in trying to emulate Indian grandeur, the movie compromises the grounded essence of Yoruba tradition.
Despite listing a language coach in the credits, the actors’ accents are inconsistent. Some slip into modern diction, and at least one popular slang, Emilokan, jars the immersion completely. Mannerisms and gestural language typical of pre-colonial Yoruba are nearly absent, missing a critical layer of authenticity.
Sound design is another shortcoming. Chants are often recorded off-set and sound detached from their visual context. Echo effects in dialogue scenes feel forced. Although the musical compositions are beautifully arranged, their timing and integration are disjointed, resulting in emotional disconnect.
