Metacritic-Rezensionen

The writer-director never rushes this story, but still wastes no time in the film––each scene contains weight and value. Each moment builds on the memories of Shula and of the women in this family, fractured together, constantly reminded of monstrosities, somehow still taking steps forward.

Perhaps what’s most impressive about On Becoming a Guinea Fowl is Nyoni’s respect for subtext. Her film doesn’t aim to be a guide, a balm or an ode to forgiveness. The director rejects the ease of over-explanation and allure of an exclusively reverential tone. She reaches for honesty, and what she uncovers is at once disquieting and deeply absorbing.

Blending molasses-dark comedy with searing poetic realism to capture contemporary Zambian society at a generational impasse between staunch tradition and social progress, this is palpably new, future-minded filmmaking, at once intrepidly daring and rigorously poised.

The off-kilter, absurdist vibe of the picture is enchanting, but it’s rooted in deep horror: The whole movie is about the ways that cruelty and injustice become codified. Sometimes, the only way to preserve your sanity is to go a little insane yourself.

The scarring power of Nyoni’s film ignites from Shula’s eventual realization that she would rather torch her family to the ground than let them forget what happened.

The film can be confusing, but it’s not meant to be pinned down. And despite the occasionally surreal touches, it’s an examination of how the beauty of tradition can also be an opponent to justice and humanity.

Rugano Nyoni’s critique of her native country’s gender-based discrimination is as acerbic as it is unforgiving.

On Becoming A Guinea Fowl is a formally daring picture that blends fantasy, stylised drama and elements of black comedy to explore the societal pressures that rewrite the truth.

It isn’t just stellar filmmaking, it’s necessary viewing for those of us aching to break the cycle of abuse.

While it’s such an intriguing idea, an almost absurdist scrutiny of what avoidance looks like and how families choreograph their collective denial, there is something a little bit contrived in it and, though always engaged, I found myself longing for some outright passion or rage or confrontation.