Witness Gospel Movie Reviews

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“UNDER SIEGE” REVIEW

This is a really special review for me in quite a number of ways. The feeling I had after watching “Under Siege” was visceral – a wholesome, profound satisfaction I’m yet to fully understand or digest. In a sense, it’s a dream come true. This is because I’ve long advocated for gospel filmmaking to venture into uncharted territories, and the musical genre has topped that list. This isn’t the very first attempt – Seyi Obembe has consistently given us the hybrid DraMusiComedy genre since 2017. There have also been impressive Mount Zion Institute group short film projects The Chair (2019) and Sing U-lah (2021) that explored similar terrain. I myself was privileged to borrow elements from this genre in Zion (2023) which I produced, and Code Jacob (2024) produced by Femi Fakayode (Zionhome Drama Outreach Ministry). However, this is the first musical feature from Mount Zion Film Productions – and it’s quite something, to say the least.

As a whole, I am blessed, impressed and amazed at the sheer amount of effort that went into this. I genuinely believe that no cost or favour was spared, and the final output was more than worth it. The star power here is palpable – from veterans in the drama ministry to young talents in both drama and music ministries, everyone brought their A-game. Kayode Owojori, Broda Martyns and Kayode Babalola all had the chance to flex their singing muscles, while standout renditions came from Greatman Takit, Jay-Mikee, Gaise Baba, Darasimi Oyor and Mike Abdul. I wish I could highlight every major and minor role, but suffice it to say that there were great performances across board.

Greatman Takit gives a strong protagonist account of Kolade, a young man yearning to pursue his passion and fulfill his calling. Having a complex relationship with his father, he unfortunately gets entangled with the wrong company. The stakes are raised when he wants out of the price he feels is too high to pay. I feel this is strong storytelling – relatable and relevant. I believe there’s something for both parents and their young adult children here: “Under Siege” navigates themes such as passion, profession and calling, parental expectations, service to God, and the all-too-familiar desire to “blow.” I hope this movie provides perspective to many, making it clear that our gifts are meant for the One who gave them to us.

The music…oh, that’s an entire album – literally. And for the first time, I think a Mount Zion movie features full song credits. I urge the ministry to continue this practice, even for non-musical films. Every artiste here sprinkled their stardust over the scores, which, in my opinion, culminate in the two final numbers. (I especially loved the reference to “Esu to ba Gbe mi” from Just A Little Sin [1998].) For ringtone lovers like me, multiple tracks from this film will be contenders.

By the way, for those wondering who was being mourned in the last scene – since Kolade was alive – I believe that it was the music star played by Funso Davids, who was killed in the opening scene. That suggests that he might have been a member of Reverend Emmanuel’s church, warranting the service in his honour. That “honour” didn’t feel entirely earned though, and points to a few other plot hitches. One or two scenes dragged slightly, and the crime subplot felt underdeveloped. Also, since Kate turns out to be more than a bit-part character, I opine that she should have been physically introduced earlier – certainly before the halfway point. Of course, this is partly due to the phenomenal width that “Under Siege” tries to cover, and I mention it only so that future productions can aim for tighter plotting. It’s worth noting however, that this motion picture is infused with Damilola Mike-Bamiloye’s signature humour, perfectly balanced across its 127-minute runtime.

In conclusion, the production value of “Under Siege” is high. From the majestic sets at The Jagz Ibadan, to the hills where Kolade performs “Made for This” (captured through exquisite cinematography and shaped by effective editing), the film carries an epic tone. It’s a movie I’ll revisit just to experience specific scenes again. More importantly, it showcases God’s power to deliver anyone from satanic bondage, and I believe that this is a win for gospel film production in Nigeria. Long may it continue.

The link to the movie is https://youtu.be/11FQQv81hDw?si=mE3tlFsipdeLgID_

Till the next review, stay blessed!

Film Credits
UNDER SIEGE (June 22, 2025)
127 minutes
Mount Zion Film Productions

Cast
Greatman Takit as Kolade
Joshua Mike-Bamiloye as Timi
Gaise Baba as Samuel
Broda Martyns as Officer Pitan
Mike Bamiloye as Rev. Emmanuel
Mike Abdul as Gasper
Darasimi Oyor as Kate
Kayode Babalola as Elder

Crew
Screenplay
Damilola Mike-Bamiloye
Director of Photography
Tofunmi Ojo
Editor
Victor Otegbade
Music
Joshua Mike-Bamiloye
Director
Damilola Mike-Bamiloye
Music Director
Joshua Mike-Bamiloye

“OLUKOYA” REVIEW

To start with, I find some of the PR done for “Olukoya” impressive. Most people would likely think it was the biopic of Dr D.K Olukoya, the General Overseer of Mountain of Fire and Miracles Ministries. The publicity team therefore remarkably clarified this with the hashtag #NotABiopic. Similarly, the first frame of the movie carried a disclaimer to this effect. These actions are commendable, as they were very helpful in shaping audience expectations.

The film gets off to a promising start with an opening sequence that sets up the rest of the story. The power of collaboration was also on display, and one collaborator makes it clear that “Olukoya” is not merely about entertainment, but about a message — one that seeks to harness the power of media in service of the gospel. That intent comes through, and it is encouraging to see.

The motion picture features a stellar cast with Omooba Oluwasegun as the lead. He embodies the conviction and strength his titular character must have. Experienced graces like Lara Ayoola, Victor Olukoju, Adeola Salako, Pius Obi Chioma, and Adedeji Adekusibe put in valuable shifts to support the younger actors. Most fascinating was the casting of veteran Kayode Owojori of “Abattoir” fame in the unfamiliar role of a chief priest, one he delivered with aplomb.

In a sense, “Olukoya” is a slow burner. It takes its time to establish Tunde Olukoya — his friendship with Elijah, his spiritual endowments, his relationship with his parents, and how God establishes His will in his life — with some attention given to Chioma’s subplot. Generally, such pacing is used to build characters, establish the stakes, and prepare the ground for payoffs and callbacks that land with greater impact. In this case though, events merely happen, and don’t necessarily achieve these. Thus, the film drags, with stretches of extraneous dialogue that stall momentum rather than enrich it.

To the movie’s credit, the plot is remarkably layered, and there is quite a bit of ground to cover — hence the chapterisation of “Olukoya”. The subplot of Gbenga Ayoola’s Kabiyesi is an interesting one in the way it ties to the main plot. These plots oscillate between the present and the past, though I could not quite place two that had to do with Tunde — whether they were dreams, memories, revelations, or spiritual reflections. On another note, “Olukoya” impressively has two language subtitles; colour distinctions should however be used to make them easier to follow.

With a whopping combined runtime of 205 minutes, it came as quite a shock when “Olukoya” leaned into the familiar “To be continued” trope. And I was like, “After all that?!” Therefore, the current “chapters” or parts feel more like a foundation-laying effort, with little real movement in terms of plot progression. My hope is that the second part defines first, what it wants to be — a feature movie, a limited series, or something unorthodox. Whichever the case, it needs to carry more weight, with stronger events, deeper character arcs, and most importantly, a tighter sense of story. The “Less is more” guiding principle of screenwriting needs to be applied here. In a world saturated with media competing for people’s time and attention, gospel films must find ways to hold audiences not only with their message, but also with compelling storytelling.

That said, the film still manages to leave an impression because of its central message about yielding to the will of God. This comes across clearly in the way we see Him directing Tunde’s steps and unveiling Ngozi’s journey ahead of time. The impact of this truth is undeniable, and I look forward with interest to what the continuation of “Olukoya” has to offer.

The links to the movie are
Chapter 1: https://youtu.be/AAqm0j1Nqoo?si=Xbj_yiEn6cDhQlOx
Chapter 2: https://youtu.be/KZf1VyCKRJY?si=jxG7q9EyAhQfq0O-
https://youtu.be/mjRX4mMbLI8?si=AeWQf7hWqUaYLlOy

Till the next review, stay blessed!

Film Credits
OLUKOYA (September 11, 2025)
205 minutes
Blessed Assurance Studio Inc and New Life International Gospel Centre

Cast
Omooba Oluwasegun as Tunde Olukoya
Ibitoye Ayodele as Elijah
Oluchi Onuchukwu as Nneka
Gbenga Ayoola as Kabiyesi
Omolara Ayoola as Biola Olukoya
Adeola Adedamola-Salako as Nneka’s mother
Victor Olukoju PVO as Segun Olukoya

Crew
Screenplay
Oluwatosin Abidakun
Director of Photography
Kunle Adepoju, Korede Olayinka, Abiola Babatola Nattytunez
Editor
Abiola Babatola Nattytunez
Director
Seun Aejumobi

“ACTS OF BELIEVERS” REVIEW

“Acts of Believers” is a title that whetted my appetite. It immediately reminded me of the ‘Acts of the Apostles’ in Scripture. Naturally, I expected something along the lines of the greater works Jesus said His disciples would do. The movie turned out quite different, however. Quite literally, I believe it focuses on the works found in the hands of believers, as opposed to what they profess.

This feature sets out to tackle the rise of “new age” churches and doctrines, which might be regarded as a feature of the Gen Z ‘movement’, if you will. It depicts a trend where materialism is key, decency is de-emphasised and immorality is condoned. “Acts of Believers” therefore does well to contrast “Old School” Christianity with the more “Reckless” kind. Productions like this are important because they remind us of the ancient landmarks that should not be moved. That is the way to maintain sanity in a world where standards are constantly shifting.

On the technical side, however, there is much room for improvement. Strikingly, there was little chemistry within the different groups of actors. Even the much-loved “Daddy-Mummy” dynamic for instance — so well known to fans of the “Abattoir” series — which could have deepened the connection between Rev. Adebiyi and his wife, only further highlighted the gap. Furthermore, the story could have been streamlined for a more focused narrative. It is difficult to identify the main plot in relation to the subplots, and the overall tone, mood, and rhythm of the film remain rather flat.

The film is also heavily dependent on dialogue, often at the expense of action that should have been shown. Key scenes such as at least one or two new age church services, or even Sandra’s healing(?) were only talked about. Meanwhile, a few less essential scenes that did not move the plot forward were included instead. As story consultant Robert McKee teaches, the Inciting Incident and other essential beats of the central plot must happen onscreen, not merely between scenes or in dialogue. A stronger emphasis on visual storytelling would have made “Acts of Believers” a more structured narrative — without necessarily making it a longer one.

That said, the film raises an important reflection. The rise of these strange churches and doctrines reveals the different states of the human heart. It produces “Christians” without standards — those who neither have the form of godliness nor acknowledge its power. It is astonishing what the human mind can invent to justify satisfying the flesh. Some don’t begin that way, but, as Scripture says, “evil communication corrupts good manners.”

The movie concludes with a timely reminder: the need to pray and intercede for ministers of the gospel, because so much of what sheep do is predicated on what their shepherds say.

The link to the movie is https://youtu.be/2RIob43Fzy8?si=5_epAe8IFiueQxbw

Till the next review, stay blessed!

Film Credits
ACTS OF BELIEVERS (September 12, 2025)
61 minutes
HOVAM Films

Cast
Jide Ogunmilade as Rev Adebiyi
Toyin Aluko as Mrs Adebiyi
Adebayo Omotosho as Thomas
Olugbenga Babatunde as Abbey

Crew
Screenplay
Festus Oluwatosin Adewole
Director of Photography
Temidayo Ayodele
Editor
Festus Oluwatosin Adewole
Director
Festus Oluwatosin Adewole

“PROGNOSIS” REVIEW

“Prognosis” is a movie that addresses the vital issue of moral ensnarements — particularly those that entangle youths — and their attendant consequences. It is always important to have productions like this that not only portray the problem, but also offer hands-on, step-by-step guidance toward a solution.

The story begins with Gaius, a young man battling an ailment that had previously been treated by medical means, though without success. The dynamic nature of his symptoms made it difficult to arrive at a definitive prognosis. However, through the help of an anointed medical doctor, a deeper diagnosis of Gaius’ life is uncovered — one that reveals underlying issues and family dysfunctions that parents ought to pay attention to.

“Prognosis” also serves as much-needed publicity for the book No Longer a Slave, a tried and trusted resource for those struggling with sexual immorality. Many youths face this battle daily, and they need this kind of help. At the end of the film, the director emphasizes the importance of reaching out for help rather than dying in silence. This is practical ministry, and I highly commend the producers for stepping into this space. I hope this review serves to re-echo that call and plea.

On a production level, however, I found “Prognosis” to be a somewhat dull affair. The plot could have used more dynamism — films that maintain a singular tone throughout tend to lose their audience’s engagement. This was further exacerbated by a sound design that featured a single, continuous musical note running through much of the film. I encourage more thoughtful plotting and richer film scoring in future productions.

The link to the movie is https://youtu.be/8Q-qU6ikJcw?si=fYhQLLuEThqoFJjv

Till the next review, stay blessed!

Film Credits
PROGNOSIS (August 2, 2025)
58 minutes
JATEM Global Network

Cast
Benjamin Gbadeyan as Gaius
Olasunkanmi Solomon as Doctor Jones
Nike Ojo as Gaius’ Mum
Olivia Izuegbune as Dr Jones’ Wife
Femi Olusina as Gaius’ Father

Crew
Screenplay
Olasunkanmi Solomon
Director of Photography
Mayowa Samuel
Editor
Seyi Fadiji
Director
Olasunkanmi Solomon

“DNA” REVIEW

When you talk about creative movie titles, DNA is certainly one. Of course, not many people actually know what the popular acronym stands for (it’s deoxyribonucleic acid, by the way), but in this case, it stands for “Deceit Never Age(d).” Its grammaticality is questionable though, and I’m left to guess or assume what the title actually means.

The movie tells the story of a family in which the mother, Grace, despises her daughter because of the circumstances of her birth. This feeling is unnatural and only reveals how the trauma of the past can affect one’s present, and ultimately shape the future. The film highlights the importance of a patient spouse and caring spiritual figures who can cut through the thickest fogs of darkness and help traumatized individuals find the light.

There’s something I see about DNA: it holds within it the potential to become a widely discussed story; not just because of the weight of its message, but also because of the sheer dexterity it could have shown in its execution. The primary issue lies here: there is a story, but very little in terms of plot.

The narrative can be split into two parts that should have been interwoven, rather than presented one after the other. As it is, the opening third becomes trapped in a loop of Grace’s bitterness toward Deborah, her daughter. We see Grace refusing to let go of her pain, but when the shift finally comes, it’s abrupt and unearned. She seemingly lets go, but we never witness her process. There’s no visible emotional arc or tension afterward; just a sudden change.

The second loop involves a sudden shift in Grace’s behavior within her marriage. Events occur that should raise the stakes, but the tension is undercut by the story’s overreliance on convenience. Plot points fall into place too easily, and character decisions feel more like devices than organic reactions.

To avoid giving away too many details, I’ll just say there are plot twists that could have felt monumental, but their weight is lost in a haze of exposition and sermonizing; instead of allowing the story to speak for itself.

DNA deals with themes of shame, regret, forgiveness, and identity – weighty matters of the heart. What it needed was better development of its plot, characters, and especially its emotional arcs.
Nonetheless, “Deceit Never Age” is worth a watch.

The link to the movie is https://youtu.be/1hE_7ugqRJU?si=aC2E9ehn8vjaVoHZ

Till the next review, stay blessed!

Film Credits
DNA (July 16, 2025)
99 minutes
Calvary Movies TV

Cast
Seun Adejumobi as Johnson
Alice Jerimiye as Grace
Mercy Ogunniran as Deborah
John James Joshua as Pastor

Crew
Screenplay
Moses Korede Are
Director of Photography
Olabamiji Oluwafemi
Editor
Olabamiji Oluwafemi
Director
Moses Korede Are

“MARRED POT” REVIEW

“Marred Pot” is a thoughtful picture of parenting, particularly from God’s point of view. The title is drawn from Jeremiah 18, and it reminds us that children are like clay in the hands of their potters: parents. And what’s more, no parent can truly parent well except by God’s help. I pray for those trusting God for this gift, that the physical manifestation of what you’re believing God for will come to pass in earnest.

The movie tells the story of Mr and Mrs Akeju, who, burdened with childlessness, begin their journey with a rather demonic transaction. It’s a sobering opening scene. And the message is clear: nothing the devil gives is free. Even the “gift” of a child can become a curse when it comes by unclean hands.

Thankfully, the couple later turn to God and receive their Samuels. However, the challenge starts after the testimony arrives. The father begins to walk in error by raising his children with secular ideologies, even though they were received in the place of prayer. Like the Galatians, he started in the Spirit but continued in the flesh. And it backfired.

“Married Pot” teaches that parenting is a divine assignment. You can raise children and still destroy destinies if care is not taken. Children are blank cheques; whatever you write on them is what they become. This means you can’t raise a prophet with a worldly mindset. You can’t insist on your ambitions and expect the child to fulfill God’s will. When we don’t parent in spiritual wisdom and authority, we mar the pot. I pray that all our children will turn out right in Jesus’ name.

One character who stands out, albeit not in a flattering way, is Mr Akeju himself. His delusions are almost cartoonish, and for a man who professes to know God, his stubbornness is staggering. Even after divine revelation, he remains resistant to change. Unfortunately, the film doesn’t quite give his character enough depth for us to fully understand his motivations or transformation. His journey is mostly flat, in that he starts off wrong and remains so for most of the story. His interactions with his wife also suffer as a result.

A flailing subplot meant to parallel the Akeju’s adds functionality but little thrill. The storytelling overall lacks emotional build-up and nuance, leaving the narrative rather monochrome. However, the film does well with sound design and set consistency. Also commendable is the presence of spiritual oversight in the form of Pastor Amson, which is a reminder that every couple needs a godly voice in their lives.

Conclusively, “Marred Pot” leaves viewers with an important message: even when our lives feel disfigured, God is able to remold us. While His original design may be tampered with by our disobedience or the enemy’s interference, His hands are never idle. He can restore what’s been broken, though I think, like doctors connote, it’s best not to be broken in the first place.

The link to the movie is https://youtu.be/4lAMGfbSNFc?si=oR_XOgqBDOmukd0r

Till the next review, stay blessed!

Film Credits

MARRED POT (July 10, 2025)
71 minutes
VDG Films

Cast
Kayode Babalola as Mr Akeju
Folashade Fadiji as Mrs Akeju
Victor Bamgbose as Joshua (Senior)
Ayobami Owolabi as Rachael (Senior)
Olufemi Olusina as Pastor Amson
Rotimi Amodu as Daddy Tayo
Feyi Adepoju as Mummy Tayo

Crew
Screenplay
Yemi Adepoju
Director of Photography
Sesan Afolayan
Editor
Seyi Fadiji
Music
Jesutomisin Agboola
Director
Olufemi Olusina

“HOPE” REVIEW

“Hope” is another compelling short film from the joint efforts of Mount Zion Film Productions and True Talk with TED. This new collaboration feels like a vision from the Lord, particularly targeted at youths, singles and young adults navigating the tricky terrain of emotions, courtship, faith and marriage. I’m genuinely grateful for the consistent release of these thoughtful shorts which are spiritually enriching.

This particular short centres on Bola, well played once again by Peculiar Ani. After facing heartbreak in what appears to have been a God-ordained relationship, Bola is left devastated. It’s a scenario many can relate to – where the person you’ve envisioned forever with suddenly changes the course. As someone who once came close to making the same mistake in my own courtship (thank God for divine intervention 🙌🏿), I understand how crushing that moment can be.

Technically, the film is creatively executed. The sound design is immersive, and the cinematography, especially the moving and overhead shots, is expressive and deliberate, making the visual and technical effort here commendable. The title “Hope” is suggestive of the theme, but the specifics only become clearer as the short progresses. A visual analogy, shared through Bola’s friend (Rose), drives home the theme: sometimes, the reason we cannot embrace the new is that we’re still holding on to the old. And in that, the film lands its message with grace.

That said, allow me to stir the waters slightly. While the film encourages healing and moving on – which is absolutely necessary – there’s also value in pausing to hear what God is saying, especially if a courtship began with His direction. The swiftness with which the individuals in broken Christian courtships are sometimes expected to “move on” can feel dismissive of God’s potential leading. In Bola’s case, Folusho does not even give any clear explanation for his withdrawal. So, I feel some details still need to be set straight before moving forward, especially if spiritual authority was involved from the start.

In all, “Hope” is an encouraging piece, with a core message that’s worth holding on to.

The link to the movie is https://youtu.be/3QbclI52Qkc?si=Gvz7_ITczyHtGRhD

Till the next review, stay blessed!

Film Credits
HOPE (June 1, 2025)
10 minutes
Mount Zion Film Productions and True Talk with TED

Cast
Peculiar Ani as Bola
Victor Otegbade as Folusho
Tobi Adepoju as Rose

Crew
Screenplay
Emmanuela Mike-Bamiloye
Director of Photography
Tobi Olumuyiwa
Editor
Esli Fiberesima
Director
Victor Otegbade

A Heartfelt Tribute to Our Beloved Brother, Olaoluwa Dare Lawal

With hearts heavy with grief, yet anchored in the hope of our faith, we share the devastating news of the passing of Olaoluwa Dare Lawal, a gifted set designer and cherished member of our gospel filmmaking family.

On May 31, 2025, at Boun Village, Simawa, Ogun State, Ola was called home to rest in the arms of our Heavenly Father, leaving a void that words cannot fill.

Ola was a beacon of creativity and dedication, pouring his heart into crafting sets that brought stories of God’s love to life.

That fateful day, as he worked tirelessly by the riverside, a sudden splash marked the moment he was taken from us.

His assistant and crew members raised the alarm. Crew members and local fishermen divers searched tirelessly for hours.

Despite our fervent prayers, Ola’s lifeless body was recovered on Monday June 2, 2025, and, in accordance with his family’s wishes, he was laid to rest, surrounded by his loving family.

As a gospel film community, we are bound by faith, love, and the belief that even in our deepest pain, God is near. Ola’s loss has shaken us all.

I, Bola Akande, devastated by the sad and ugly incident, have been under medical care, grappling with the shock of losing a son in the Lord whose professionalism, laughter and passion lit up our sets.

We mourn not just a colleague, but a son, a friend, and a vessel of God’s purpose.

To Ola’s family, we extend our deepest love and prayers, trusting that the God of all comfort will uphold you. We honour your request for privacy and stand with you in shielding Ola’s memory from sensationalism. Out of respect for Olaoluwa, the family doesn’t want media sensationalism due to his age, and we have respected this request.

Even during our condolence visit to the family, Ola’s father re-emphasized privacy and a strong warning to those carrying fake news around. During our visit, your strength inspired us, and we pledge to protect the dignity of your son’s legacy.

To our Nigerian audience, whose love for gospel films fuels our work, we share your sorrow. Ola’s life touched countless hearts through the stories we tell, stories of redemption, hope, and God’s unending grace. We hear your concerns and understand the pain that fuels them.

Let us assure you that safety is our priority, and every possible step was taken to find Ola. Filming has been paused, and we have gathered in silence and prayer, seeking God’s peace.

We invite you to join us in celebrating Ola’s life. Let us flood our hearts with prayers for his family, share memories of his work, and commit to carrying his passion forward. In the spirit of the gospel we proclaim, let us choose love over anger. Unity over division, and faith over despair. Ola’s light continues to shine in every frame he crafted, reminding us that God’s purpose endures.

Thank you to the local divers, police, fire fighters, medical personnel, clergymen, cast, crew, the Baale and Chiefs of Boun Village, Simawa and all who searched and prayed. Your support is a testament to the strength of our community.

As we heal, we ask for your understanding and grace. May Olaoluwa’s soul rest in perfect peace, and may his memory be a blessing to us all.

In Christ’s love,
Bola Akande
Film Producer

“I RECEIVED HIM” REVIEW

From the stables of Mount Zion Film Productions and True Talk with TED comes “I Received Him“. It is a short film that explores a familiar scenario in Christian circles: when someone “receives” a life partner from the Lord and decides to act on it – and that someone is a lady. What follows is instructive, especially for Gen Z believers who may mistake boldness for spiritual maturity.

Set in a modern university setting, I like how the film handles its theme with scriptural sensitivity. It draws attention to the difference between emotion and revelation, the importance of godly order (like marriage committees), and the need for the Word of God to test every “word” we claim to hear. It reminds us, using Elizabeth’s experience, that not all service is acceptable before God if the heart is misaligned. That’s strong meat for a short film.

Technically, it’s a well-done production, though the use of an all-time favourite background tune for me (“I Wish(?)” in The Ignition) felt a bit distracting. Still, it fits the scene, and I can’t fault the sound design overall. Also worth noting: the actors were well costumed, and the dialogue was clear. The cinematography was thoughtful, the editing well-paced, and the performances sincere. I particularly liked how Peculiar Ani’s Elizabeth points to the president at the pulpit when asked to turn to her neighbour and say “I love you”.

This is one of those films that should be shown to young women, especially in campus fellowships. It encourages openness among sisters, wise counsel, and a God-focused approach to marriage. In a world where shortcuts are normalised, “I Received Him” gently but firmly urges us to wait on God, trust His order, and test every spirit – including our own emotions.

At 14 minutes, I’d love to see more bite-sized, meaningful productions like this. If a well-established ministry like MZFP can produce such a short film this well, then up-and-coming creators can do the same: focus on the basics, stay grounded in truth, and let the message shine.

The link to the movie is https://youtu.be/iQAs8rWgRWg?si=UOa4rG76R-AMvhNz

Till the next review, stay blessed!

Film Credits
I RECEIVED HIM (June 1, 2025)
14 minutes
Mount Zion Film Productions and True Talk with TED

Cast
Peculiar Ani as Elizabeth
Esther Adeyemi as Bunmi
Ife James as Bro Tayo

Crew
Screenplay
Emmanuela Mike-Bamiloye
Director of Photography
Tobi Olumuyiwa
Editor
Daniel Olajugba
Director
Victor Otegbade

🚨 FINAL CALL FOR SUBMISSIONS! 🚨

The MZIAIF International Christian Film Festival 2025 is celebrating five years of Kingdom Films Celebration and this is your last chance to be part of it!

The final submission deadline is May 31st—no extensions! Don’t miss the opportunity to have your work showcased globally, connect with fellow Christian filmmakers, and be celebrated at our Kingdom-Style Global Award Ceremony on August 2nd at the Jesus Center.

Submit your film now at [FilmFreeway](https://filmfreeway.com/MZIAIFINTERNATIONALCHRISTIANFILMFESTIVAL) or visit [www.mziaiffilmfestival.com](www.mziaiffilmfestival.com). 🚀✨