[ Review: LUCKY ]
inconsequential moments melting into a
golden vista fragmented by the lives of each
of the characters that grace the screen of the
film. Directed by Fofo Gavua, Lucky employs
various elements of filmic language such as
relatable comedic dialogue, mellow lightning,
measured foreshadowing, intimate yet dy-
namic framing and a signature sonic architec-
ture to masterful effect that lend the project
a very light and relatable tone, especially
amongst denizens of Accra who can easily
find a character like MasterCard or Wadaada
or Nutifafa in their lives. Regardless of the
serious business that is surviving Accra, the
film chooses to amplify the comedic moments
that come with this survival; a lot of which
is activated through the refreshingly natural
pidgin English dialogues as well as the reflec-
tive monologues by the lead character.
D
espite the characters living in their
distinct lights, Lucky maximizes
the funny bits of their idiosyn-
crasies, making their deep seated
troubles and anxieties palatable
and relatable. Indeed, character development
steers the plot as the introduction and exit-
ing of each personality in the film revealed
a new layer of truth about surviving Accra.
Characters such as Lucky and Nutifafa bring
you the angst-filled realities behind the crys-
tal ball that is social media, Wadaada gives
you the truth, the bravado, the spirit and the
courage of creating your own joy, Pamela
shows a free-spirit circling in flight. Master-
Card and Ricky, in their fleeting yet timeless
moments, reflect polar opposites; the calm
and the rage embodied in survival. Each
vignette is true and honest, and as they form
18 | Colossium . December 2018
a collage, the viewer begins to thread their
decisions together, in an attempt to grasp
their motives. The brilliant acting/castings is
also complemented by cameo appearances
from various legendary Ghanaians actors,
which weaponizes the nostalgia of Ghanaian
film to engineer new moments of bliss among
millennial Ghanaians who grew up watching
these legends.