On Becoming a Guinea Fowl (2024)

On-Becoming-a-Guinea-Fowl-(2024)
On Becoming a Guinea Fowl (2024)

In the past, our predecessors used to say that it is only proper to pay respect to the dead without tainting their reputation. In most cases, it is therefore equally proper not to disparage people who are still alive. When it comes to those individuals who may be younger and weaker than themselves and have complaints against others, it is not so easy to figure out when one should speak up. What has been And so, almost at once, a numbness connected with a deep-seated rage interrupts the silence in Rungano Nyoni, calmness had been formerly portrayed by a mass of young girls who had suffered from sexual violence and who prayed that their abuser would die along with their parents’ silence over their tragedy. There is a purposeful and balanced portrayal that first resonates with the spirit of the setting which is contemporary Zambia caught in the tension between traditional and modern.

As Nyoni acted as a juror in the Competition of the Cannes Film Festival, perhaps she only poorly judged this fragment, then we could confidently put it in the competition section and say ‘On becoming a Guinea fowl’ gets to Cannes thanks to its heritage aided by A24, BBC Film and Fremantle and high heeled with Irish element Pictures (“Poor Things”, “Room”) who were the ones to produce it. It’s so because of Nyoni’s second film “I am not a Witch” filmed in 2017. The film investigated aspects of African femininity in a society that is endangered by second-wave conservative ideals, mixing surreal African mythology with art house approaches. Technically, this film was far more interesting incorporating a rich collage of sound and visuals to demonstrate the impact of a Zimbabwe-born filmmaker who spent most of her childhood in Wales.

Losing the formalism a bit, Loosie’s next effort dresses itself in character and community to understand the complexity of cultural antagonisms but she still can, courtesy of ace Colombian DP David Gallego (“Embrace of the Serpent,” “War Pony”), have an angle towards things. immediately “Guinea Fowl” begins its wider image production with a shot or image of pure absurdity, Shula (Susan Chardy), twenty-two years of age, dressed in an inflated black puffa bodysuit and jeweled tiara on her head, aka the influencer character, returning home from ‘teddy bear parties’ calmly and over sexualizing the oversized costume. Whether it is hip-hop coming from the outfit, the source of the animal, or the combination of the two it is hard to comprehend The character Shula (the Christian name of the oppressed juvenile heroine of the movie “I Am Not a Witch”, who knows, maybe even her ethereal successor) wears no ethnic breast wrapping, and having Kowith has only recently moved with her family to Zambia after residing abroad for some time.

This results in a moment of pause for her, and even makes her press the brakes, although it doesn’t make her step outside of the vehicle. She calls her father (Henry B.J. Phiri) and flatly, in an indifferently restrained manner tells him that Uncle Fred is lying on the tarmac, dead. It was both a slight muted pain in his undisguised voice and alongside this, her self-addressed portrayal. As a result, she sits dazed just focusing on her uncle’s corpse, not when her over-energized cousin Nsansa (an exuberant Elizabeth Chisela) tries to casually convey to the kids in the parked car that their uncle was found in an adjacent bathroom a few meters away from a brothel with a punch to the car door. “Now I know a map for pleasure,” Nsansa states most cheerfully. While these two remain in stifled frenzies near the body, the two other girls Lilian and Todo would inexplicably to the rest of us who weren’t with them so intent on trying to sleep there.

The beginning of the story reveals that Shula, Nsansa, and their cousin Bupe were sexually abused by Uncle Fred and that the number is only a fraction of the women in their family suffered in silence. While Chardy performs, it is Slula who is the calm in the storm and, Shula is already tired of Chardy’s performance which is annoying. It is not a story about how secret malignant figures in the family were always warned that their time would come, for people understood it in any case. Only there is no consensus on what to do about it.

The questioning of grief has never appealed to Shula as it comes with doing the funeral circus. People from afar come to her shabby household to cry at the top of their lungs, aid with making food, stitch together funerary gowns that are colored in violent red and make a ruckus in contrast to the sound design of Olivier Dandré which is simple and dull, it caps off with the idea that somebody is giving Fred a character arc. All of their mothers ask them to respectfully cluster all their pain with the men responsible for it, as all their unfortunate ancestors did. There is an even larger consensus missing for Fred’s young widow drawn in a few clipped, compass throws by Norah Mwansa, quite withered this woman is not even endowed with the status of a victim in fiction but rather as an anti-hero from their lineage. The thoughts that the men have barely interest Nyoni: This is a play where men’s words do not spew out except when they go: ‘no food no money’. Relatively, unskilled worries who seemingly sit on high society.

The female protagonist’s voice is depicted in a more dramatic and emotive form. The peaking sound can be considered the best illustration as the ‘finest cries’ of dumb witnesses are only taken on by the young girls who mimic the call of a guinea fowl, which annoyingly reaches the pitch of a burglar alarm. For example, when they talk one after the other, they can imagine the future: reminiscences of Bupe’s suffering that Shula tells have the great potential of providing an interesting even when the future of wetland priorities is combative around spoilers. Despite the fact that “On Becoming a Guinea Fowl” does not present any generation as dominant in the multi-generational warfare, the cynically somber film of Nyoni shows that the memory will indeed win in its battle against denial.

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