Hijack '93: A Polarizing Depiction of a Historical Crisis in Nigerian Cinema

The release of Hijack ’93 has sparked a diverse range of responses among critics, audiences, and even individuals personally connected to the 1993 Nigerian Airways hijacking that inspired the film. Directed by Robert O. Peters and scripted by Musa Jeffery David, the film revisits the October 1993 hijacking, presenting a narrative centered around four teenagers who seize a plane with demands aimed at forcing the resignation of General Ibrahim Babangida. The story’s dramatic premise generated high anticipation, and within a week of its October 25, 2024, premiere on Netflix, Hijack ’93 drew significant attention, amassing 3.2 million views and securing a top-10 position on Netflix Nigeria’s charts. Yet, the critical reception to this portrayal of real-life events has proven divisive, exposing varied expectations of historical storytelling in Nigerian cinema.

One of the film’s most enthusiastic supporters, Neerja Choudhuri Tinubu of Midgard Times, commended Hijack ’93 as a “well-crafted thriller,” particularly admiring its screenplay for skillfully conveying the tension inside the hijacked plane. Choudhuri applauded the performances of the cast, noting that they enhanced the film’s intensity and provided a strong connection to the high-stakes situation. Her positive review awarded the film an 8 out of 10 rating, emphasizing its successful encapsulation of a fraught moment in Nigerian history. Choudhuri’s perspective suggests that the film’s approach to suspense and character immersion resonated well, meeting her expectations for an intense, dramatized recounting of historical events.

On the other hand, Omoleye Omoruyi of Technext24 offered a starkly contrasting assessment, rating the film a mere 2 out of 10. Omoruyi described Hijack ’93 as lacking cohesion, suggesting that while the film aimed to offer insight into a pivotal historical episode, it ultimately delivered a series of “loosely connected scenes” rather than a coherent story. He argued that the film’s reliance on “cliché” diluted its intended impact, turning what could have been an engaging historical drama into something he characterized as a “rushed montage.” This critique raises questions about the film’s storytelling structure, suggesting that the intent to capture a complex event was undermined by inadequate narrative depth and focus.

Personal reactions to Hijack ’93 extended beyond critics. On October 26, Pa Yemi Ogunderu, father of Richard Ogunderu, one of the original hijackers, shared his thoughts on the portrayal of his son. In an interview, Pa Ogunderu remarked that Richard had never been a violent person and viewed his actions as driven by conviction rather than malice. According to Ogunderu, his son’s only regret was not remaining in Niger Republic, where he had gained recognition. His comments highlight an undercurrent of discontent from those connected to the original hijacking, suggesting that the film may not fully capture the complexities of its subjects, particularly the motivations and personal histories behind their actions.

Audience feedback reveals additional frustrations with the film’s treatment of its characters and narrative elements. Some viewers expressed disappointment in the film’s dialogue, describing it as “flat and uninspired.” Several reviews pointed out that while Nollywood films often employ realistic dialogue, Hijack ’93 would have benefitted from a more dynamic approach to better reflect the emotional stakes of the story. Critics of the dialogue argue that the hijackers’ conversations lacked depth, missing the kind of powerful exchanges that could convey the fervor and urgency of their mission. This critique resonates with Omoruyi’s view that the film failed to rise above casual conversations and present the revolutionaries as compellingly as the premise might have warranted.

The portrayals of the hijackers themselves also received mixed feedback, with many viewers suggesting that the actors failed to convey the intensity expected of revolutionaries. While the cast embodied the physicality of their roles, some felt that the performances lacked the emotional and ideological commitment that would make their motivations convincing. The cumulative critique points to a broader desire among audiences and critics for historical films to deliver not only a plot but a nuanced, character-driven story that effectively connects viewers to the events and the individuals involved. Ultimately, the polarized responses to Hijack ’93 reveal the challenges Nollywood faces in translating historical narratives into compelling cinematic experiences that resonate across diverse perspectives.