For many Nigerians raised in deeply religious homes, ‘Oversabi Aunty’ will feel uncomfortably familiar. Directed by and starring Toyin Abraham, the Nollywood dramedy tells the story of the overzealous, self-appointed moral policewoman whose devotion to correcting others masks a dangerous neglect of her own household.
Released in December as a holiday offering, the film is positioned as a family-friendly crowd-pleaser. But beneath its comic surface lies a pointed critique of religious hypocrisy, parenting failures, and the quiet damage inflicted by performative righteousness.
Plot
Toun (played by Toyin Abraham), a church woman whose fervour for “doing God’s work” is expressed mainly through judging other people’s children.
Married to Chidi (Mike Ezuruonye), an Igbo man, Toun presides over a culturally mixed household. Still, he spends far more time policing church morality than nurturing her four children: Seyi, Aderoke, Timitope and Chuka.
Predictably, the home she ignores becomes a breeding ground for
Her first daughter, Seyi, is set for her wedding and introduction, but what should be a uniting force for both Yoruba and Igbo families soon spirals into chaos.
Soon, Toun’s carefully constructed image implodes, forcing her to confront the hypocrisy she has long weaponised against others. But would her fanaticism boomerang, or would her ‘Over Sabi’ nature save the day?
Performances
Oversabi Aunty features a robust ensemble that brings to life a story blending comedy, family drama, and cultural commentary. The film’s success hinges on the cast’s ability to portray relatable Nigerians.
Toyin Abraham anchors the film with a performance that showcases both satire and sincerity. As Toun, she is infuriating, amusing, and occasionally tragic, a woman so intoxicated by moral superiority that she becomes blind to her own failures. While the role sometimes tips into melodrama, Abraham’s commitment gives the character emotional credibility, especially in the film’s final act.
Mike Ezuruonye brings veteran ease to Chidi, injecting humour through his Igbo-accented Yoruba while grounding the family drama with quiet restraint.
Enioluwa Adeoluwa, cast against his bubbly public persona, delivers a melancholic and affecting performance as Chuka, the emotionally neglected son whose storyline provides the film’s most sobering moments. His anger issues become a sharp contrast to being a neglected child at home.
Efe Irele also stands out as the eldest daughter, lending depth and vulnerability to a role that could easily have become one-dimensional.
The supporting cast, including Ngozi Ezeonu, Queen Nwokoye, Tana Adelana, Ozain Ibadan, and others, adds texture, particularly in scenes that explore generational attitudes and communal pressure. Collectively, the ensemble sells the film’s message in a relatable style, even when the script falters.
Hits and misses
Almost everyone has that relationship or acquaintance that is overbearing and seems to be interested in everyone’s business other than theirs; this is what Nigerians often describe as ‘over sabi’.
The film playfully explores this familiar “oversabi aunty” stereotype, mining humour from church politics, unsolicited parenting advice, and the quiet rivalry over whose child is the most well-behaved, situations many Nigerians will instantly recognise.
While the movie’s concept is solid, its execution is uneven. Some scenes lean too heavily on well-worn Nollywood tropes, such as the “church-versus-street girl” contrast and predictable ‘owambe’ (party) moments.
A few cultural portrayals may also feel sensitive in today’s multicultural society, even though the film’s message ultimately leans towards unity.
The film also explores strong emotions, as it confronts family hypocrisy head-on, which may be intense for those seeking lighter entertainment.
Visually, the wedding sequences stand out, bursting with colour, music, and a lively blend of Igbo and Yoruba traditions that underline the film’s call for togetherness; still, the storytelling stumbles at times.
Repetitive dialogue, drawn-out subplots, and a rushed climax, like an overly long women’s meeting, weaken the emotional payoff. In a few moments, exaggerated performances soften what could have been sharper, more biting social commentary.
Oversabi Aunty is not a flawless film, but it is a resonant one. As a festive release, it succeeds: funny, culturally grounded, and accessible to a broad audience. As social commentary, it is earnest if occasionally blunt, raising important questions about faith, parenting, and the cost of moral grandstanding.
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For viewers seeking light-hearted satire with a moral backbone, the film delivers. For those hoping for tighter storytelling and deeper cinematic restraint, it may be a missed opportunity.
Still, Toyin Abraham’s ambition is evident, as the movie seems to be her best yet, and Oversabi Aunty stands as a meaningful, if uneven, mirror to Nigerian family life, one that invites laughter, discomfort, and reflection in equal measure.
Verdict
7/10
‘Over Sabi Aunty’ is showing in cinemas nationwide .
