{"id":5704,"date":"2026-08-09T13:05:45","date_gmt":"2026-08-09T13:05:45","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=5704"},"modified":"2026-08-09T13:05:45","modified_gmt":"2026-08-09T13:05:45","slug":"our-time-will-come-review-two-orphans-journey-to-accra-to-find-their-kin-in-an-emotionally-absorbing-ghanaian-drama","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=5704","title":{"rendered":"\u2018Our Time Will Come\u2019 Review: Two Orphans Journey to Accra to Find Their Kin in an Emotionally Absorbing Ghanaian Drama"},"content":{"rendered":"
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\n\tElements of \u201cOliver Twist\u201d are given a West African update in \u201cOur Time Will Come,\u201d an atmospheric and emotionally absorbing feature debut from writer-director Amartei Armar, who thankfully cares too much for his orphaned characters to torture them (and us) with unending miserabilism.\u00a0\u00a0Beginning as a road trip, then shifting to a punishing vision of hardscrabble life in Accra, the film blossoms into a story of irrevocable bonds forged out of shared adversity. Handsomely shot by John Kwame Markin and anchored by an adult-sized performance from teen Idrissu Tontie Jr., \u201cOur Time Will Come\u201d (presented in Marrakech\u2019s 2025 Atlas Workshops as \u201cVagabonds\u201d) plays with certain narrative conventions in such distinctive ways that it\u2019s likely to find a welcoming home wherever it travels following its Locarno premiere.<\/p>\n

Read more Naseeruddin Shah, Gurvinder Singh Turn a Village\u2019s Real Grief Into Locarno Competition Title \u2018Rehmat\u2019: \u2018It\u2019s Important That These Films Get Made\u2019<\/a><\/p>\n

\n\tArmar\u2019s Ghana is one where family ties have been eroded and ethnic identity precludes any notion of national solidarity. Within the vacuum left by rural flight and grinding poverty, people\u2019s instincts are to rebuff anyone resembling the outsider they used to be themselves, making for a dog-eat-dog world where protection is possible only if a self-described family welcomes the newcomer into their midst. Oblivion is just one step away, and kinship, whether by blood or affinity, is redefined for a modern world in which traditional safety nets have been rent asunder.<\/p>\n

\n\tThe bond between 15-year-old Owusu (Tontie Jr.) and seven-year-old Adobea (Dorothy Adobea Tandoh) is that of brother and sister: Owusu\u2019s mother left him in the care of a friend and disappeared, but that friend died when giving birth to Adobea. We don\u2019t know why the two kids decide to flee their orphanage, but Owusu\u2019s selfless protection of his young charge has such potent resonance that the wisdom of their escape is never questioned, despite learning that Adobea suffers from the same blood disease as her mother.<\/p>\n

\n\tTheir goal is to reach Accra and locate Owusu\u2019s long-lost mother: \u201cIf we can find her in Accra, we can be a family again,\u201d he tells Adobea, though the only physical evidence he has is an old photograph. Owusu keeps them moving as if compelled by instinct, driven to find water, a place to sleep, and a kind person willing to give them a lift. By shooting these early scenes outside in full daylight, with plenty of space, Armar sets up a stark contrast between the light-filled openness of the countryside \u2014 not without its dangers \u2014 and the dark, crowded, disorienting city where the youngsters are heading.<\/p>\n

\n\tAn open-air market seems like the best place to show his mother\u2019s photo and ask people if they know her, but these two weary, dirty provincials speaking a different language are clear targets for any scam, and all their stuff is nicked by Obolo (O\u2019Bryan Nana Kwame Enyan), a scrappy street kid with an eye patch. In desperation Owusu searches for the thief, threading through the slums and finding him in an abandoned building with a small band of youths led by the charismatic Ziggy (Emmanuel Wilberforce), a sort of Artful Dodger who tests the newcomer and then, assured of his mettle, welcomes him and Adobea to the \u201cfamily.\u201d<\/p>\n

Read more \u2018Donkey Princess\u2019 Review: A Princess Escapes the Kingdom, but Not the Patriarchy, in an Inventive, Shape-Shifting Fairytale<\/a><\/p>\n

\n\tUp until that moment, the abuse (and fear of abuse) experienced by Owusu and Adobae threatens to become relentless, but Ziggy\u2019s protection marks a shift, not so much in their fortunes but their ability to survive without constant fear of violence. Suga (Barbara Yong-Jin), the one girl in the group, drops her insolent, mocking demeanor to become nurturing towards Adobea, and everyone contributes to the group\u2019s survival by hawking and transporting anything that\u2019s sellable.<\/p>\n

\n\tThe film\u2019s pointed critique of a fractured society severely damaged by playing catch-up capitalism is unmistakable, but for those familiar with recent Ghanaian politics, Armar\u2019s poignant assessment goes deeper. Not by chance does he include a billboard emblazoned with \u201c#ReadTheBill,\u201d part of a campaign among activists designed to raise awareness of a 2024 so-called \u201cFamily Values\u201d bill crafted to criminalize the LGBTQ+ community (it passed); instead of supporting alternate families at a moment when the disconnect between traditional notions of blood ties and the actual state of kinship units has never been more cavernous, the government chose a red flag issue rather than addressing the country\u2019s real problems. While such knowledge isn\u2019t needed to appreciate \u201cOur Day Will Come,\u201d the quietly inserted political angle makes clear that Armar intends his film as much for his home country as international festival audiences.<\/p>\n

\n\tWhatever background audiences bring to the table, there\u2019s no mistaking the director\u2019s deeply effective working relationship with Idrissu Tontie Jr., who also appeared in some of Armar\u2019s previous shorts and unmistakably holds the film with his impressive shift from tense, driven protector to relaxed, swaggering urban denizen. In fact, the charismatic cast all shine, as does Kwame Markin\u2019s camerawork, nicely attuned to the differing emotional registers demanded by location and mood. However, Armar inserts three music montages, presumably to keep the energy going, when one would have sufficed.<\/p>\n

Read more Anthony Michael Hall Says John Hughes Wanted a \u2018Breakfast Club\u2019 Sequel Where the Original Cast Is \u2018In Their 30s\u2019<\/a><\/p>\n<\/div>\n<\/div>\n

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\t\t\u2018Our Time Will Come\u2019 Review: Two Orphans Journey to Accra to Find Their Kin in an Emotionally Absorbing Ghanaian Drama<\/p>\n<\/h2>\n

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\t\tReviewed at Locarno Film Festival (Filmmakers of the Present), Aug. 6, 2026. Running time: 104 MIN. (Original title: \u2018Ego Reach We All\u2019)<\/p>\n<\/h2>\n

    \n
  • \nProduction:<\/strong>
    \n(Ghana-France-Saudi Arabia) An AKA Entertainment production in co-production with La Luna Productions, Canal+ International, Red Sea Fund. (World sales: MMM Film Sales, Paris.) Producers: Yemoh Ike. Executive producers: Amartei Armar, Yemoh Ike. Co-producer: S\u00e9bastien Hussenot.\t\t\t<\/li>\n
  • \nCrew:<\/strong>
    \nDirector, screenplay: Amartei Armar. Camera: John Kwame Markin. Editor: Marie-Pierre Frappier. Music: Amine Bouhafa, Kweku Sackey.\t\t\t<\/li>\n
  • \nWith:<\/strong>
    \n\u00a0Idrissu Tontie Jr., Dorothy Adobea Tandoh, Emmanuel Wilberforce, Barbara Yong-Jin, Emmanuel Owusu Ofori, O\u2019Bryan Nana Kwame Enyan, Gabriel Narh Addo, Nelly Bilson, Kwame Brenya. (Twi, G\u00e3, Pidgin dialogue) \t\t\t<\/li>\n<\/ul>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    Amartei Armar’s debut ‘Our Time Will Come’ shines an empathetic light on the need for alternate families in a land fractured by catch-up capitalism.<\/p>\n","protected":false},"author":1,"featured_media":5703,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[4453,1508],"class_list":["post-5704","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-amartei-armar","tag-locarno-film-festival"],"yoast_head":"\n\u2018Our Time Will Come\u2019 Review: Two Orphans Journey to Accra to Find Their Kin in an Emotionally Absorbing Ghanaian Drama - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=5704\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Our Time Will Come\u2019 Review: Two Orphans Journey to Accra to Find Their Kin in an Emotionally Absorbing Ghanaian Drama - 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