On Becoming a Guinea Fowl

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.

This movie is hopeless... I kinda feel sorry I watched it. Where on earth is the comedy here?

The hypocrisy of these women is very triggering. Lashing at each other instead of pointing the finger at the real culprit, the one who caused so much suffering to plenty of women. The scene where they corner Shula and Nsansa to supposedly declare their love, but in reality to cover up for their own lies... Hated just about everybody here, to varying degrees, of course.

Blaming and abusing the widow like that was the last straw. These women are feeding the sexism under the guise of customs and traditions.

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.

This film is a small miracle of storytelling about the lives and trials of women and girls, the families that uphold them, and the societal dysfunction that holds them back. Gorgeous, heart wrenching, and subtle.

The acting is superb as the characters are richly and slowly revealed. Susan Chardy shines in her performance, portraying Shula with a quiet ferocity the role merits.

Though, I didn't know about guinea fowl before seeing the film, I will never think about them the same way again after seeing the film.

Director Rungano Nyoni has triumphed with this film, voicing the realities of the women of Zaire's lives in a story with global resonance.

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.