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.