‘Sayari’ Review: A Cheesy but Charming Rom-Com Carried by Its Leads’ Chemistry

In the digital age of swipes and situationships, making a clichéd romantic comedy might seem like an odd choice – but conviction can carry a film through. That’s exactly what happens with Sayari, the latest Kenyan rom-com added to the genre’s canon by filmmaker Omar Hamza (Gacal, Rishai) and his co-writer/producer June Wairegi – both from Giza Visuals.

Set for the most part in the scenic and serene Tigoni, away from Nairobi’s chaos, Sayari follows a love story that blossoms between Shiru (Muhugu Theuri), a caretaker at a bed and breakfast who dreams of escaping to the city, and Jamal (Lucarelli Onyango), a stoic businessman fleeing familial pressure to marry. The setup is archetypal as they come – anyone familiar with the genre can see the romantic trajectory from a mile away: these two are bound to fall in love.  

Perhaps the makers take that information for granted, which is why the film rushes at a breezy pace, much like its setting. Though the leads have clear-cut arcs, the dramatic beats of their story feel absurdly contrived and at times, lacking the believability the film’s tone suggests.

As soon as the lead’s central conflicts are established and Jamal arrives at the stay, things take a turn for the extreme. In a scene following their hilariously (physically painful) meet-cute, Shiru is tasked by Jamal’s father to disrupt his stay so he’ll return home. It’s out of left field, illogically plotted, and feels artificial just to add conflict to the first act and then to become a dramatic revelation later on.

Moments like this crop up throughout the film, weighing it down with unnecessary conflict in a film fighting between two different tones. The plot beats like the aforementioned, for instance Shiru’s alcoholic father uncovering her plans to move to Nairobi and more are all there to deliver comedic sequences. It all comes to a head in a hilarious showdown at the climax before the third act resolution.

The filmmakers clearly wear their hearts on their sleeves, and the comedy often clashes with the film’s quieter, slice-of-life tones. Shiru’s arc and her relationship to her father, both grieving the loss of her mother, carries emotional heft. So does the charming romance building between Shiru and Jamal. These portions range across the spectrum of drama yet never feel too weighty to bog down the narrative, however, they don’t quite mesh with the louder comedic beats.

That’s not to say Sayari isn’t funny or that it delivers only lowbrow humour. Beyond slapstick, the film serves up visual gags and plenty of locally flavoured humour. Still, on a technical level, though, these scenes often feel like skits from a television show – a jarring contrast to the film’s romantic and dramatic moments which are more cinematic.

The editing is fascinatingly mellow. Drawing from Ozu’s signature “pillow shots,” the film lingers on Tigoni’s stunning vistas. The natural lighting of the daytime exteriors really sells the idea of this idyllic romance both characters are in search of yet have shut their hearts from. However, some of the lighting and grading, particularly the film’s overuse of orange and teal colors, clashes with this naturalistic beauty.

Still, Sayari works, even when worn down by the cheesiness of the writing, largely thanks to the performance of its two leads.

Theuri carries much of the film, and though she can sometimes go overboard, she’s incredible in intimate, emotional scenes, especially when confronting her family’s shared grief. Comparatively, Onyango doesn’t have much to play with as the stoic businessman but together, they liven up the romance, giving the film its heart. Their chemistry has ease; it lightens the mood and brings warmth even to the most clichéd scenes – like the rainfall proposal or her monologue to win him back.

This chemistry is so wholesome that technical flaws such as poor sound mixing fade into the background. For a casual viewer simply looking to be entertained, Theuri and Onyango deliver enough charm to carry it through.  

Even though it feels like the film’s clashing tones never result in a complete experience, the energy and conviction of the romance leaves the viewer with a feel-good touch. And at the end of the day, isn’t that all we want from a romantic comedy? A bit of charm, a bit of cheesiness, and a whole lot of wholesome.

Following its release in April, Sayari also screened at the 2025 NBO Film Festival that ran from 16-26 October.

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