I’ve always had a problem with how Eastlands is portrayed in Kenyan media. For decades, it has been over-villainised to the point where, if an alien landed in Kenya, moving to Eastlands would be out of the question.
Eastlands has always been made to sound like the crime capital of East Africa. But with some productions, like On Air, Eastlands as central part of the narrative is justified since the movie is based on a true event that took place at Buru Buru Estate which so happens to be in, yes you guessed it right.
Directed and produced by Edwin Nyongesa under Bingi/Wabe Films, On Air revolves around a dramatic standoff after a failed robbery.
A “criminal” Ondivo calls into a popular Nairobi radio station (Suncity Radio) while engaged in a shootout with the police, narrating his side of the story live on air.
With the city on edge, a radio presenter Rango, who has his own issues to deal with finds himself in the middle of it all. We follow him trying to defuse the crisis while grappling with moral dilemmas and immense pressure from Shirleen, his no-nonsense producer and a police commissioner who has his own motives.
This is a movie, which is inspired by a true event, is meant to be watched with your ears and while it has a similar premise to The Caller by Likarion Wainaina (starring Nice Githinji), On Air has it's own defined style.
On Air is available on suncity-radio.com for only Sh300. Why am I mentioning this now rather than at the end? I think this an interesting concept and while it has it's own issues there are many things that work to it's favour. Let's look at some.
What worked
The ending is perfect; perfect framing, perfect character moment, perfect song.
The audio-focused direction is genius, pushing audiences to listen and imagine rather than relying on visuals. The story structure allows for natural progression and escalation of tension while offering brief moments of relief for the audience.
The performances are outstanding. Wanjira Longauer, as Shirleen, delivers a brilliant performance, with moments that are so believable that I thought they were improvised. Matayo Randu as Rango is the anchor of the film, but his chemistry with Shirleen (Longauer) truly elevates the story and most of the scenes.
Their dynamism is a mix of tension, humor, and layered history that feels genuine. Add Daniel Muturi as Marcus, the naive intern, and you get a trio that creates some truly engaging scenes. Even smaller roles, like the police commissioner and June Njenga’s character, add subtle but meaningful layers to the overall story.
Ondivo’s character really pushes your sense of imagination because you never see the character. His role highlights how any story can be compelling when approached creatively.
The film’s tension is remarkable. Edu Gee’s team taps into J.J. Abrams' “mystery box” formula, maintaining suspense through Rango’s arc from verse one to the final verse.
The one thing that the team did better than Abram’s is that every setup has a satisfying resolution.
The film respects its audience, especially in verse one, where it challenges you to figure out the unfolding events without over-explaining.
The score is decent overall, and the ending song choice is perfect.
The creative liberties taken to fictionalise the true event work well. Rango’s character is built from the ground up, making his decisions relatable. Major plot points align with small character moments like Marcus’ arc creating an effective, cohesive story.
Technically, the film is well-executed. The cinematography is subtle yet effective, always ensuring the story stays front and centre. Editing is strong, blending (like the cinematography) seamlessly with the narrative, apart from a few playful editing moments that stand out. Costumes, particularly Rango’s, are thoughtfully designed in that they come into play at a certain crucial moment.
The sound design is solid, although I spotted a few minor issues.
The title card reveal which is apart of the premise adds a nice touch that also plays into the story around verse four, though I must admit the idea in itself is a low-hanging fruit.
This movie would perfectly fit in the Shujaaz universe with the social commentary and general plot. The only thing here is that the movie does a better job in presenting complex characters with string personalities. But.
Flaws
At times the social commentary went overboard and every now and then the movie would remind us of some negative tropes that come with Kenyan politics which diluted the strong character moments.
The score at times as the drama intensifies, while effective, leans too heavily on generic sound choices like mellow violins and the “bombshell” sound effect. This, paired with certain lines about Ondivo’s “future,” can feel emotionally manipulative which again is what at the end of the day film is meant to do.
Kenyan filmmaker discusses latest project, ‘On Air’, a thriller based on true events
