Dwi Wanna
In the landscape of modern cinema, the act of adaptation is often a delicate balancing act—a tension between honoring the source material and daring to breathe new, autonomous life into a classic. When twin filmmakers Arie and Chuko Esiri set their sights on Virginia Woolf’s seminal 1925 modernist masterpiece, Mrs. Dalloway, they knew they weren’t interested in a mere period-accurate retelling. Instead, they aimed to deconstruct the very foundation of the story, titling their ambitious project Clarissa.
By focusing on the protagonist’s given name rather than her marital title, the brothers have embarked on a mission to “free” her from the patriarchal structures that defined her existence in Woolf’s original text. The result is a film that captures the spirit of the novel while transplanting its psychological intensity into the vibrant, complex, and deeply traditional environment of contemporary Lagos, Nigeria.
The Genesis of an Idea: A Lifetime of Literary Influence
For Chuko Esiri, the fascination with Mrs. Dalloway was not a byproduct of academic pressure, but a deeply personal, evolving relationship that spanned decades. First encountering the novel at the age of 16, Chuko admits that while the nuances of Woolf’s stream-of-consciousness prose were beyond his teenage grasp, the emotional gravity of the work resonated profoundly.
“It’s a novel I love. I was at school, but it was not for school,” Chuko explains. Growing up in a household where their mother’s library was a constantly expanding sanctuary of literature, he found himself drawn to the modernist movement. After falling in love with the short stories of Katherine Mansfield, the path to Woolf felt natural. “At 17, I didn’t understand it, but I felt it. The writing is so beautiful and the emotions are so strong.”
The book returned to him in his mid-20s, but it was in his early 30s—a period of professional uncertainty often referred to as a “quarter-life crisis”—that the narrative truly solidified in his mind. Having recently emerged from film school and living at home with his mother while his peers were establishing themselves as doctors, lawyers, and architects, Chuko saw his own reality reflected in the characters of the book. It was during this period of introspection, combined with a newfound ability to engage with his elders about their own histories, that the concept for Clarissa began to take root.
Chronology of the Project: From Concept to Cannes
The journey from initial spark to the screens of the Cannes Film Festival was neither linear nor simple. After Chuko proposed the adaptation to his brother, Arie, the two began the arduous process of untangling the story from its post-World War I London roots. Arie, who notes that Virginia Woolf is on his brother’s “Mount Rushmore” of authors, was immediately struck by the audacity of the idea.
“One of the things I said to him was, ‘This is going to be very difficult to do,’” Arie recalls. However, the decision to transpose the story to contemporary Lagos was made from “day one.” The brothers identified a striking parallel between the class-conscious, rigid social structures of early 20th-century London and the deeply conservative, hierarchy-driven society of modern Nigeria.
As the script developed, the production faced significant hurdles, teetering on the edge of collapse more than once. It was the involvement of lead producer Theresa Park that provided the necessary breakthrough. Park’s feedback—specifically the permission to “let go of the book”—allowed the brothers to stop treating the novel as a sacred text and start treating it as a foundational spirit.
The final piece of the puzzle fell into place with the casting process. Through a connection with actor Jude Akuwudike—who had worked with the Esiris on their 2020 film This is My Desire—the brothers approached the acclaimed Sophie Okonedo. Okonedo’s interest was immediate and personal; she felt a strong, ancestral draw to the project, fueled by the prospect of working with Nigerian creatives to tell a story of such cultural depth. With legendary casting director Nina Gold signing on to complete the ensemble—bringing in talents like India Amarteifio, Toheeb Jimoh, and David Oyelowo—Clarissa transitioned from a risky experiment to a cinematic triumph.
Cultural Mirroring: Nigeria as a Modern Period Piece
One of the most compelling aspects of the Esiri brothers’ vision is their assertion that Nigerian society, with its "unofficial gerontocracy," acts as a living, breathing period drama. In their view, the Nigerian household functions much like a mini-government.
“There’s a council of elders that are, I don’t know, the House of Lords,” Chuko explains, noting that the younger generations often occupy the roles of members of parliament, perpetually negotiating their autonomy under the watchful gaze of their seniors. This social structure mirrors the class rigidity found in the works of Virginia Woolf or even the settings of Gosford Park.
The Esiris argue that the colonial past is not just a historical footnote in Nigeria; it is a psychological occupation that continues to manifest in modern social mores. Whether it is the demand for formal attire at social gatherings or the rigid etiquette surrounding service, the brothers suggest that the "converted" are often more zealous than the original practitioners. This obsession with appearances and status provides the perfect backdrop for a story about a woman trying to assert her own identity within a system that demands her conformity.
The Aesthetic of Focus: Why Film Matters
Beyond the narrative choices, the film’s visual language is a testament to the brothers’ commitment to traditional craftsmanship. Clarissa was shot entirely on film, a decision that the Esiris believe was essential to the emotional and visual texture of the project.
“We love shooting on film,” Chuko says, recounting his early days at Columbia University where he sourced leftover film stock from the set of The Walking Dead. For the brothers, digital formats lack the tangible, organic quality that film provides.
Arie emphasizes the practical discipline that shooting on film imposes. Because the medium is finite and expensive, it requires a higher level of preparation and collective focus. “None of us can see the image immediately,” Arie notes. “It brings a certain amount of focus to the set that is just wonderful. I think everybody is clued in that every minute is precious.” This rigor directly informed the choreography of the scenes, resulting in a film that feels deliberate, classical, and deeply immersive.
Implications: A New Era of African Cinema
The success of Clarissa—which played to packed houses during Directors’ Fortnight at Cannes and caught the attention of Neon long before its official announcement—signals a shift in the global appetite for African-led period dramas. The Esiri brothers believe that there is a vast, untapped potential for African directors to reclaim the "period piece" genre, proving that the themes of societal pressure, colonial legacy, and individual struggle are universal.
By "freeing" Clarissa, the Esiri brothers have not only honored the spirit of Virginia Woolf’s original work but have also created a mirror for the contemporary Nigerian experience. The film is a poignant exploration of what it means to exist as a woman—and as a person—within a system that insists on defining you by your associations rather than your character.
As the credits roll on Clarissa, audiences are left not with a static adaptation of a century-old novel, but with a vibrant, living portrait of identity, history, and the quiet, persistent struggle for liberation. The brothers have succeeded in proving that while the settings may change, the fundamental human desire to be seen as more than just a component of someone else’s life remains timeless.
Sagoh
Iffa Jayyana
