For a moment, this film disoriented me. We are in April, but Sayari feels like a Valentine’s Day release. Not that every film needs to be anchored to a specific time, Novacaine is technically a Christmas movie that dropped in March.
Still, Sayari is unmistakably a film made for lovers. It’s one of those stories that makes you want to fall in love. But beyond the romance, it does a few clever things that make this an interesting and very Kenyan cinematic experience.
First off, yes, the name Sayari (Swahili for “planet”) is a little cheesy. But it’s memorable, and they find a neat way to tie it into the story. Now, onto the basics.
Sayari is a Giza Visuals production, produced and co-written by June Wairegi and directed by Omar Hamza. It stars Muhugu Theuri (Crime and Justice) as Shiru and Lucarelli Onyango (Single Kiasi) as Jawal.
The supporting cast includes Gitura Kamau, who I have to say is fantastic and also appears in the comedy Black & Blue, as well as seasoned actor Eddy Kimani.
Synopsis
Sayari is a romantic comedy that follows Shiru, a struggling AirBnB manager in Tigoni, a leafy suburb in Kiambu County. Her already dramatic but humble life is flipped upside down when she’s contracted by the father of a runaway groom to make sure he shows up to his wedding.
What Works
This is a rom-com, which means the focus is on romance. But what stood out to me was how well the subplots involving fatherhood, between Shiru and his father, and Jawal and his father, were handled.
Yes, these elements serve to motivate characters, structure the conflict, and push the plot forward. But the writers take it a step further.
They give the fatherhood dynamic an emotional twist that elevates both the comedic and the serious moments, all while keeping things grounded.
Even though this is a comedy, the film doesn’t force the funny moments. There are genuinely funny moments, but they’re subtle, well-timed, and never dominate the emotional weight of the film. The team behind Sayari clearly understands the balance. The humour is present, but always in the background.
I’m not sure whether it was a creative decision or budget limitations, but there’s a charming simplicity to Sayari that works in its favour.
It feels authentically Kenyan, relatable to the point that certain scenes drew spontaneous reactions from the audience. Swahili is the primary language, which cements its identity. The costumes and locations are also worth noting. They’re natural, lived-in, and true to life.
Gitura Kamau, who plays Shiru’s father, delivers a standout performance. He’s convincing as a complex dad who balances his character antics with tender and sometimes serious moments.
Eddy Kimani, to no one’s surprise, is as great as Majid, Jawal’s father. The father-son chemistry between him and Lucarelli Onyango is almost believable, their physical look is questionable.
Muhugu Theuri is perfectly cast. She carries the emotional tone of the film with ease, slipping naturally between heartfelt, comedic, and tense moments. There’s a quiet authenticity in her presence and costumes that makes her portrayal of Shiru feel Kenyan.
Let’s talk about that Tigoni house. I’ll revisit it later in the critique, but for now, I’ll say this: the location makes the film look more expensive than it probably was. The house, the garden, the misty backdrop, it all works.
I also appreciated the callbacks. Small moments, like interactions between Shiru and her best friend, pay off nicely. These little touches make the film feel more layered and thought-out than it appears at first glance. The third act takes the story in directions that are predictable but different and delightful.
At 90 minutes, Sayari is impressively contained—not just in runtime but in concept. The script, the naturalistic sets, and the grounded costume design all contribute to a cohesive, self-contained world. And the title reveal? Pretty cool. I think many people won’t see it coming.
There is some impressive lighting and framing at night and the general use of coloured lights makes this a good-looking film. But not always because the cinematography is one of the aspects of this film that I had an issue with.
What Didn’t Work
I have seen better shots of Tigoni on YouTube than what I saw in this film, the cinematography is not bad, it’s actually decent but. This is a Giza Visuals production, the same studio behind Itifaki, Kimya and Gacal.
The story is set in Tigoni, Kiambu County, one of the most photogenic parts of the country. While I respect the character-centred approach, I expected more breathtaking shots since this is Giza Visual.
We get one or two stunning frames in the third act and the coloured lighting as mentioned before is good. If you’ve been to Tigoni, you know how lush and cinematic it is.
I wanted to see Kiambu County in a way that can only be experienced in a theatre, with beautiful wide establishing shots, or just breathtaking b-rolls. The cottage, though beautiful and unique in design, also feels underutilised.
Still on the visuals, the office scenes needed better blocking. The rest of the film has this immersive, realistic tone, but the office scenes feel staged, planned and stiff.
The ADR (automated dialogue replacement) is patchy, and there’s a general lack of confidence in how the audio is layered and designed.
There is sound design but it was not as atmospheric and as consistent as thought it was going to be. Sound design shouldn’t be about clean dialogue and extra sound to sell a scene, it’s about creating a sonic atmosphere.
I should be able to close my eyes and still know exactly where the scene is taking place just from the audio alone. Here, the sound design needs extra work, again this is Tigoni.
There were also one or two scenes that felt rushed. The kite scene, for example, doesn’t breathe. It happens quickly and then it’s gone.
Also, the film is packed with a lot of plot points for such a tight runtime. While most of it is handled well, a few side characters don’t get enough room to be fully fleshed out.
The film occasionally asks us to suspend disbelief to connect the dots where character motivation isn’t properly fleshed out.
This isn’t necessarily a flaw, it may be a stylistic or creative choice, but it’s worth pointing out. The story feels like it was written and filmed in blocks. Think LEGO pieces rather than a tightly woven single narrative. There’s cohesion, yes, but the transitions aren’t always smooth.
Lastly, the editing and pacing take a dip in the second half. The first act is sharp and fast-moving, but once we head into the second and third acts, things slow down. Characters begin making key decisions, but the rhythm becomes uneven.
Take Your Father
This is a delightful film. Yes, it’s marketed as a rom-com, for the lovers and the romantic thread is central. But here’s the thing, this is also a film you can comfortably watch with your father.
Beneath the love story, there’s a thoughtful subplot about family, fathers, and what it means to grow up and show up for the people you care about.
The romance isn’t lacking, it’s just not the only thing on the menu. What caught me off guard was everything happening outside the relationship between Shiru and Jawal.
The performances are fantastic across the board. The cinematography, while good, could have done more with the gorgeous Tigoni setting. Still, Sayari made me smile, laugh, and shake my head at times.
It’s unapologetically Kenyan, from the language to the humour to the cultural references. While I’d definitely recommend watching it with someone you love, there’s something in here for everyone, but there’s a special layer of meaning for those with complicated, beautiful, or even difficult relationships with their fathers.
