Colours of Tomorrow

Following 2025’s genre-defining Colours of Fire, Colours of Tomorrow doubles down on Nollywood’s emerging Afro-fusion musical identity with a scope that is either incredibly ambitious or slightly delusional, depending on how generously you are feeling by the end. The answer, honestly, is both.

Set in a near-future Lagos where the music industry has been monopolised by a tech conglomerate that algorithmically curates all culture, the film follows three musicians — played by Davido, Tems, and Falz — who must recover a stolen sound archive containing Nigeria’s entire musical heritage before it is permanently deleted. The premise sounds like it was workshopped at midnight, and the screenplay shows it. But the musical sequences, which are simply extraordinary, justify every narrative shortcut.

Davido, making his full feature debut, is surprisingly comfortable on screen — he plays to his strengths, and those strengths turn out to include genuine warmth and comic timing. Tems, in a more demanding dramatic role, carries the film’s emotional weight with a stillness that the camera responds to instinctively. Falz brings the self-aware political edge the ensemble needs.

When the film sings — and it sings often and magnificently — it is an event. When it tries to be a plot movie, the seams show. A messy, frequently wonderful film about what it means to own your sound.

Verdict: Imperfect and absolutely essential. Nollywood’s musical genre has found its flagship film.