“Clarissa” Brings a Nigerian Adaptation of Mrs Dalloway to Cannes Film Festival

Nigerian twin directors Arie and Chuko Esiri‘s new film, “Clarissa”, a Lagos-set adaptation of Virginia Woolf’s 1925 novel “Mrs Dalloway”, made its world premiere on May 16 in the prestigious Directors’ Fortnight section, and the film has received strong reviews from critics Cannes. Shot entirely on 35mm film, was led by Oscar nominee Sophie Okonedo, the film marks one of the most prominent Nigerian entries at this year’s festival.

The story follows “Clarissa”, a wealthy Lagos high-society matriarch, as she spends a single day preparing to host a party at her waterfront home. As guests from her past begin to reappear, old memories, buried feelings, and unfinished stories come rushing back. The Esiri’s have taken Woolf’s themes of class, regret, and social performance and replanted them squarely in modern Nigeria.

The adaption places greater emphasis on class divisions and Nigerian’s political tensions. A crooked mosaic of Nigeria hangs on a wall throughout the film, with characters constantly trying to straighten it but never quite managing. The Big Ben clock chimes that run through Woolf’s original are replaced here by Islamic prayers over loudspeakers.

Photo: Instagram

Sophie Okonedo plays the present-day “Clarissa”, with David Oyelowo as her old friend and former admirer Peter. India Amarteifio of “Bridgerton” plays young “Clarissa”, Ayo Edebiri of “The Bear” takes on young Sally, Toheeb Jimoh of “Ted Lasso” plays young Peter, and Nikki Amuka-Bird appears as the present-day Sally. Fortune Nwafor plays Septimus, a soldier returning from fighting Boko Haram in the north. The screenplay was written by Chuko Esiri. US studio Neon, known for backing major Cannes titles, acquired the film back in November 2025 before it even reached Cannes.

The reviews coming out of the festival have been strongly positive across the board. The Guardian’s Peter Bradshaw gave it four stars, calling it a seductively mysterious, mesmeric drama with commanding performances. Variety’s Jessica Kiang headlined her review “Sophie Okonedo Illuminates a Quietly Dazzling Nigerian Reinterpretation of Mrs Dalloway.” The Hollywood Reporter’s Lovia Gyarkye called it a quiet revelation, and RogerEbert.com critic Brian Tallerico declared it one of the better films he expects to see this year. The film also received a standing ovation at its Directors’ Fortnight screening.

Photo: Instagram

For Nigerian cinema, the film represents a significant Cannes breakthrough. The Esiri brothers have taken Nigerian stories, Nigerian faces, and a very Nigerian reality to one of the most watched film festivals in the world. With Neon already behind it and the international press firmly on board, “Clarissa” is not just a festival win. It is proof that when Nigerian filmmakers are given the space and resources to tell their stories fully, the world will show up to watch.