On Becoming a Guinea Fowl

Protagonist Shula is driving home one day, when she finds the body of a dead relative in the middle of the road.

This event triggers the appearance of her *vast* extended family, all of which are fairly horrendous people, from the ignorant to the bigot to the superstitious, and Shula has to grin and bear it because they are family.

.. i mean .. it's competently made. It's reasonably well shot and it's definitively well acted. But this film (the majority of which is in, i think Nyanja, or some other Zambian dialect) is so culturally distant from me, that i simply cannot enjoy it. There is no way that i can ever project myself onto the protagonist, to understand what she feels, to share in her decisions. I felt more at easy with 1950s films from japan, in comparison to how i feel with this film.

It's not for me. And it's probably not for you either.

Let me first just say the female roles were impeccable, full of the kind of acting that transports the veiwer. The story despite its violent & disturbing undertone was written & directed with taste. Clearly there was a deep emotional disposition of the creators & theatrical cast. Unfortunately the decision to leave the final chapter of the episode to the users imagination comes off as cowardice.. You make a movie with intriguing turns that lead to introspective meditation, you make a difference by setting an example with a production that ultimately presents resolutions. That's how trends in cultural & film are set that can actually change our world. Film, like music has the power to invoke lasting changes in our society that can transform the voice of society. I wish i could say the choice to choke the final wind from the sails of this narrative was an artistic one, but i came away feeling like it was made for many of the same reasons people stay silent about these very issues.. Fear of upsetting the crowd..

A pertinent fact about the little-known African bird known as the guinea fowl is that they have a unique, loud call that can be heard at quite a range, not only amongst their own kind, but also among all of the other animals within earshot. That can prove quite valuable both for the members of their own flock and for all other nearby vulnerable creatures when predators approach. While that may sound like useless trivia to some, it's a highly relevant metaphorical observation about the underlying narrative in this third feature effort from Zambian writer-director Rungano Nyoni. While driving home from a dinner party late at night on a remote rural highway, Shula (Susan Chardy) comes upon the dead body of her Uncle Fred (Roy Chisha) splayed out on the road. Somewhat surprisingly, she seems largely unaffected by what most would see as a shocking discovery. She calmly reports the incident to authorities and returns home, where she finds her relatives have begun preparing the residence for a traditional funeral gathering. Shula remains remarkably composed through all this, too, despite the many disruptions going on around her, especially incessant overblown outpourings of grief. Her relatives are somewhat offended by Shula's nonchalant behavior, upset that she doesn't show more remorse about her uncle's demise and isn't particularly respectful of their arguably overwrought mourning rituals. But, as a modern professional woman, Shula is not one to readily give in to these outdated conventions and exaggerated displays of hysteria, regardless of how time-honored and widely accepted they might be. What's more, as the story plays out, the reasoning behind Shula's cool demeanor becomes even more apparent: She hadn't spoken to Fred in years and wasn't on good terms with him - and for good reason. And, as she soon comes to discover through revealing conversations with relatives like her cousins Nsansa (Elizabeth Chisela) and Bupe (Esther Singini), those reasons become even clearer, making it apparent that Fred was arguably someone unworthy of the outpouring of angst directed his way. To make matters worse, Shula also sees that her family is just as culpable for the shamefulness behind the concealment of the many dirty little (and not so little) secrets that surface, terrible truths that have been long buried under successive layers of denial and shifted blame. Indeed, if family is supposedly everything, these are relatives with whom I'd rather have no contact. As a consequence, this is the kind of film that could easily prompt viewers to become justifiably outraged while watching it, both for the damning revelations that emerge, as well as its disturbingly frank portrayal of the deplorable treatment women are sadly accorded in this culture. Interestingly enough, however, the film manages to present this unsettling story with a deft fusion of drama and dark comedy (which may not seem quite so funny when all is said and done), coupled with tinges of surrealism (some of which work, some of which don't). Its greatest strength, though, lies in its message about the need for more of us to behave like the guinea fowl when circumstances warrant. To be sure, predators come in all forms, some of whom walk on four legs and others of whom only need two.

A beautiful film on a harsh topic. Nyoni presents a powerful reflection on the struggles of trying to change a world set travelling in ruts carved over centuries.

Perhaps some scenes fail to match the high standard Nyoni sets elsewhere in the film, but these do not detract from the overall force of the film.

Strong acting is presented through a tasteful and humorous use of both camera and colour. The technical direction takes what would be a solid performance by the cast and makes it even greater.

Nyoni portrays beautifully how to live in the face of grief and deep injustice. To survive together we need a will to live, and this can only come from shared joy. With no laughter we can only crawl.

Anyone with a Western mindset who claims to have no trouble discussing On Becoming a Guinea Fowl is lying. Watching this, I was reminded of Haile Gerima's words about the need for more local, identity-driven voices to portray Africa and its singularities. Once again, Rungano Nyoni does an excellent job in this regard.

It would be easy to be politically correct and say that patriarchy, gender relations, divisions, and victim-blaming exist in our societies too, manifesting in different forms. That's correct. Still, I can't help feeling that relativising this also relativises and minimises the unique pains of societies forced to navigate extra layers of traditions, rituals, and customs. These pains are even unique to people who moved away from those cultures, still missing the comfort of familial warmth and being understood, while living in a different world that, while undeniably more balanced in role distribution, remains cold to them. My background and life involve regular contact with other communities, rituals, and cultures, familiarising me with cultural aspects most Westerners aren't. Yet I'd still be incapable of writing something like this, as I'm far from carrying the weight of such identity and centuries of history. This is why it's perfectly natural to feel uncomfortable while watching this. We have many thoughts, we judge, we relativise, and it's almost impossible to put all of that into words.

The story is as powerful, disturbing and necessary as Nyoni's previous film, but the technical maturity on screen is evident, all while keeping her identity intact, rooting the film firmly in the context and society it portrays. And is this Susan Chardy's debut? Wow, impressive!

PS: That simple yet tense, and mysterious score is excellent. It reminded me of Edward Berger's recent films.