On one hand, I truly appreciate what this show has accomplished. It comes from Reuben Odanga and Multan Productions in collaboration with Nairobi University.
It’s great they included so many students in the production, behind and on screen. The university architecture also plays a big role in creating a sense of authenticity. However, this show follows a format that justifies my dislike of the streaming series format of storytelling.
If you are yet to watch it, Mo-Faya is a seven-episode Kenyan crime drama currently streaming on Netflix. The story follows Zawadie, who, after discovering shocking truths about her family, sets out to build a new life with her boyfriend, Brian. However, she is unaware of his dangerous double life, which pulls her into a world of secrets and crime.
The series features a fantastic young cast, including Lorna Lemi, Brahim Ouma, and newcomers Tobit Tom and Mathew Ngugi. The primary supporting cast includes Melvin Alusa, Alice Ngina, Alex Mwakideu, Blessing Lung’aho, Basil Mungai, Tessy Njine, and media personality Cate Rira.
Positives
Though over the top, the title card design and font choice add a strong sense of style, with the yellow and black colour scheme working well.
The cinematography across all episodes is decent. Shaky, moving shots create tension, while the sweeping views in some episodes capture the capital’s and other locations’ skyline beautifully, especially the sunset and wide shots of neighbourhoods like Westlands and Buruburu.
I also appreciate how the camera was used to navigate production challenges, especially with aerial shots. The blocking in some episodes is impressive, especially with the number of extras they had to work with.
The costume design, makeup artists, and general art department choices go for authenticity. For the most part, the police look the part, except for a brief moment in the last episode. The students also look authentic based on their personalities. Some of the rural scenes were well-executed too, with characters looking like they were pulled straight from their homes, which added a layer of realism.
The setting around and in Nairobi University was a smart choice. The architecture added to the show’s visual appeal and overall sense of authenticity, and this choice elevated the show’s overall production value.
The cast is what makes this story work. From their physical appearance to their performances, I thought this group of actors, of course under good direction and a decent script, were able to bring believable personalities to life. Zawadie’s tragic backstory was compelling, and I thought Lorna Lemi effortlessly brought that character to life.
Brian, played by Ibrahim Oma, was strong as the student leader, and when paired with Zawadie, his character felt grounded. Kevin, played by Tobit, was solid, particularly when his character wasn’t playing the stereotypical “bad guy.” Timothy, played by Matthew Ngugi as the tech guy, looked the part, but I thought he came to life when things got complicated.
Ashley, played by Tessy, was unpredictable and energetic, and I thought she captured the other side of the university student very well. There are also some good performances from the side character an example, Brian’s family. The show is also littered with good cameos, some that elevate the tension and others do exactly what cameos are meant to do.
The police and security forces drama is what makes this show stand out. This is an alternate but much better version of Cobra Squad with its intricate portrayal of political and police intrigue.
Melvin Alusa as Paul is convincing, and the drama between Zawadie, Nancy, Katana, and his squad is engaging. For me, the deputy OCS, played by Alice Ngina, is the heart of the show. All I can say is a good villain makes a good show.
While I appreciate the authenticity of some choices in the show—such as the language, the hospitals, the institutions, and the police (including the Subarus)—some good ideas were brushed over, like the concept around tampons.
The music choice improves as the show progresses, adding to the tension and mood.
The story is familiar and easy to follow. The direction uses tension effectively to bring you back for the next episode.
I like what the story builds towards, but this leads us to the more frustrating aspects.
The direction is decent, and the show hooked me from the first episode with its strong setup. However, the ending was a letdown. The season ends abruptly, leaving many plot points unresolved. It feels like there’s an entire episode missing, and that’s a major issue I have with TV shows—they rarely give you a complete, satisfying story.
Episodes four to six also had major gaps in character development. Characters suddenly change without explanation, and the shift feels jarring. There’s no clear switch; it just happens, leaving me confused.
Still on characters, Paul, who is an integral part of the story, just disappears, and the show expects us to follow another character who hasn’t been properly established.
The story also feels unfocused at times. I think each episode should have focused on one character, rather than jumping between different storylines. The last episode introduces a flashback that interrupts the pacing. Just as things were getting intense with the police drama, we’re suddenly hit with a flashback that slows everything down.
On the episode structure, I wish each episode had a title, just as a way of packaging and giving each episode a sense of identity. Finally, there were some smaller issues with set design. While most locations were perfectly chosen (shout-out to the location scouts), certain university sets felt too much like sets. The walls looked freshly painted, and certain props felt out of place.
One particular detail that bugged me was Timothy’s hacking scenes. Number one, hacking is code-based, but the interface during the hacking process was overdone. Another small issue: in Timothy’s room, there are circuit board wallpapers, which is laughably unrealistic.
There are other much smaller issues like a frame drop in episode 3, some ADR issues here and there and some editing issues, especially with the chase scene with the boda bodas.
Conclusion
Overall, Mo-Faya offers strong performances backed by an excellent cast and a compelling premise. The production design and art department make for a decent viewing experience, but its pacing and ending are drawbacks.
The ending itself isn’t bad, but the way they choose to end it just doesn’t work which has solidified my dislike of TV shows and series.
