In 29 Minutes, ‘Unbound’ says what many two-hour films cannot

Sometimes, a good story does not require much drama. Unbound, a 29-minute faith-based Nigerian short film produced by Love Story Media, is one such work.

Released on YouTube in December 2025, it wastes no time announcing its ambition: to turn heartbreak into an emotional tale that necessitates forgiveness.

Directed and starring Chinelo Ejianwu, Unbound is not merely a story about a woman betrayed. It is a meditation on what bitterness does to the human soul, and what faith, rightly or wrongly, is expected to repair.

Plot

Unbound tells the story of Chinasa, a young woman haunted by a past filled with abandonment, betrayal, and painful choices. Just when she believes love has finally found her, her boyfriend, Kingsley (Stan Nze), walks away, insisting he wants a relationship truly rooted in faith, after seven abortions.

The breakup shatters Chinasa, leaving her confused, angry, and convinced that life, and it seems like even God has turned against her.

Her pain deepens when she discovers that Kingsley has already moved on and started a family. Consumed by bitterness, Chinasa curses him, wrestles with her faith, and drowns in unforgiveness, believing her suffering is a punishment she does not deserve.

Everything begins to change when an unexpected voice of kindness enters her life: Mommy Kimmy, from church, challenges Chinasa to let go of her anger and choose forgiveness, reminding her that mercy is God’s gift, not something humans control.

After a long inner battle, Chinasa gathers the courage to face Kingsley not for revenge, but to forgive him. In doing so, she frees herself from the chains of her past. But how does this change her situation?

Performances

Unbound has a simple cast that delivers the movie’s message without overdoing it; the cast includes Chinelo Ejianwu, Stan Nze, Blessing Obasi-Nze, and Saga Adeolu.

Chinelo Ejianwu, who played Chinasa, delivers a performance built more from silence than speech. Her face does most of the storytelling: restrained fury, exhausted grief, cautious hope. It is one of those portrayals that understands that suffering is usually quiet before it is loud. Acting is an admixture of what the actor does and does not do in delivering a character, and Ejianwu well embodied this.

Stan Nze plays Kingsley with unnerving calm, charming enough to be believable, hollow enough to be dangerous. This has always been one of his skills as an actor. His subtlety makes the character’s moral escape even more unsettling.

The supporting cast, particularly the Nze family members (actor and actress Stan and Obasi Nze, and their son, Jay Nze), alongside Saga Adeolu as Adewale, bring an organic warmth that softens the film’s heaviness, grounding its theology in recognisable Nigerian domesticity.

Review

Unbound is a good reminder that a movie does not have to be long or star-studded to tell a good story. At the heart of every good story is a narrative that resonates with the audience, as diverse as it is, in matters of faith, forgiveness and relationships.

As much as not all stories necessarily need to be long to make a good movie, so too does it not necessarily have to be short to hit the mark. However, each story has an intended message that determines the sequence in which it is told.

Unbound, though short, makes a lasting impression on the audience for its apt storytelling, good actions, and timely themes.

Technically, Unbound is modest but intentional. Close-up shots dominate, as the movie sought to capture more intimate actions that were often less dramatic than necessary drama.

The gospel-inflected soundtrack lifts the emotional arc without overpowering it. Although some hospital scenes suffer from dim lighting, and the medical subplot, especially the sudden discovery of pregnancy before a scheduled hysterectomy, strains credibility, it is still acclaimed as a miracle and somewhat predictable.

Familiar Nollywood habit

The film also falls into a familiar Nollywood habit: invoking medical terminology without sufficient narrative grounding and replacing clinical logic with spiritual urgency. Aside from entertainment, people can learn a lot from movies, as they often depict situations similar to those in real life. Hence, education is as necessary as entertainment, especially when it concerns medical phenomena. But these imperfections do little to blunt its emotional blade.

Unbound does not pretend to be morally neutral. It is evangelical in structure, devotional in tone, and unapologetically Christian in its solutions. It is less interested in interrogating injustice than in prescribing surrender. And yet, within that narrow mission, it works. It will frustrate viewers who demand accountability.