When the father takes the two boys with him to Lagos to seek overdue payment from his boss, the film renders the city legible through sheer proximity: the camera clings to faces in insistent close-up, letting skin and gaze fill the frame against a densely populated, slightly chaotic urban field. The result is an intimacy that feels pointedly personal—almost tactile—so that public space registers less as panorama than as pressure: noise, movement, and crowding filtered through what the father and boys see, endure, and attempt to comprehend during the political unrest in Nigeria in 1993.