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ABSTRACT
In this realm of societal conflict, films have emerged as a potent medium for exploration, with marital discord serving as a pertinent subject. Within the purview of this research, My attention is directed toward elucidating the import of films in the context of mitigating marital conflict. To this end, My analysis centers on two cinematic production: Omoni Oboli’s “Love is War” and Daniel Ademinokan’s “Gone”. Through an exhaustive examination of these cinematic narratives, the research seeks to gain deeper insight into the origins, repercussions, and mechanisms, of resolving marital conflict. These cinematic works, replete with intricate portrayals of matrimonial dynamics, not only shed light on the multifaceted nature of marital relationships but also proffer prospective remedies for couples grappling with adversities in their unions. This study employs a literary and analytical methodology and drawing implication from this study, it posits that given the potential of films to contribute to the resolution of marital discord, there is a pressing need for further scholarly inquire into cinematic mediums role in resolving conflict.
