Cannes Review: Clarissa Offers an Innovative Platform for Sophie Okonedo

      While it may not have sparked the same intense awards buzz surrounding Sandra Hüller’s recent performances, Sophie Okonedo, the London-born actress, is already poised for a remarkable comeback in 2026. Following the acclaim for Kelly O’Sullivan and Alex Thompson’s coming-of-age drama Mouse at the Berlinale, and ahead of her central role in J.J. Abrams’ The Great Beyond, Okonedo has showcased her talent again at Directors’ Fortnight with a memorable performance in Clarissa, a humorous and creatively ambitious adaptation of Virginia Woolf’s Mrs. Dalloway, now set in contemporary Nigeria.

      This film, which will be distributed in the U.S. by NEON, is helmed by twin directors Arie and Chuko Esiri, who gained recognition in 2020 with Eyimofe: This Is My Desire, another Berlinale debut that toured festivals before earning the siblings a joint Best Director award at the African version of the Oscars. Like their previous work, Clarissa continues their exploration of the heightened, melodramatic essence of Nollywood cinema viewed through an arthouse lens—not necessarily intending to subvert those themes, but rather to reinterpret and reflect on them much like filmmakers such as Pedro Almodóvar and Todd Haynes have explored telenovelas and daytime television over the years.

      The pacing of this film may require some adjustment. Music is primarily used for emotional emphasis (though there are several stunning establishing scenes featuring original scores by Kelsey Lu), and the film’s airiness is reflected in its settings, which largely consist of spacious rooms or gardens in affluent homes, along with the calm cadence of the dialogue. However, if you persist, the ambiance complements the aristocratic world of Woolf’s text; especially during the pastoral scenes, the approach gradually reveals its rewards.

      For those not familiar with the novel, the narrative unfolds in the hours leading up to a party at the opulent home of Clarissa Dalloway. (Okonedo portrays her in the present, skillfully utilizing her characteristic clipped line delivery and natural warmth.) The film follows her throughout the day as preparations unfold—her interactions with the staff and her mother-in-law (veteran Nigerian actress Joke Silva) provide most of the comedic highlights—while frequently flashing back to a significant summer from her early twenties (depicted in flashbacks by Bridgerton breakout India Amarteifio) spent with friends, including her now-missing friend Sally (Ayo Edebiri), a romantic interest named Peter (Toheeb Jimoh), and her future husband, Richard (Ogranya).

      Among the supporting cast, Jimoh stands out—infusing his lovesick character with the same compelling presence that distinguished his performance in Industry earlier this year—and Amarteifio showcases her potential to become a prominent British star following her success in the popular Netflix series. Gradually, the Esiris move their characters towards the film’s culminating gathering, where, as expected, all of Clarissa’s old friends return; including Peter, who is portrayed by David Oyelowo and leaves Clarissa with a sparkle in her eye during one of the film’s many intimate close-ups. The character of Septimus, a soldier with PTSD from World War I in the novel, has been adapted here into a young man (Fortune Nwafor) affected by the trauma of fighting Boko Haram, and he is shifted somewhat to a secondary role.

      After watching Mouse (the best film of its type since Lady Bird) in Berlin and admiring Okonedo's performance, I was surprised that it didn’t secure a place in the festival’s competition, let alone in Directors’ Fortnight—I fully anticipate it will make a significant impact when IFC releases it later this year. Okonedo rose to fame in the late '90s and earned an Oscar nomination in 2005 for Hotel Rwanda, after which she seemed to focus on the London stage. Her notable role as Ingrid Tearney in Slow Horses appears to have rejuvenated her career. Clarissa concludes with the actress in another captivating close-up, swaying to a mellow funk classic against a backdrop of blurred lights. She truly embodies the essence of a movie star.

      Clarissa premiered at the 2026 Cannes Film Festival and will be released in the U.S. by NEON.