Unlocking Wisdom: “On Becoming a Guinea Fowl” – The Zambian Parable that Inspires Transformation

On Becoming a Guinea Fowl: A deep Dive into Trauma and Tradition

Rungano Nyoni,following her acclaimed “I Am not a Witch” (2017),presents another compelling satire in “On Becoming a Guinea Fowl,” set in Zambia. Nyoni masterfully employs surrealism too underscore characters’ inner states and propel the plot forward, incorporating dream sequences and subtle shifts in perception. Her bold narrative choices, combined with dark humor, create a uniquely immersive cinematic experience.

Nyoni’s storytelling prowess shines through her seamless integration of symbolic elements and traditional African rituals. her work was recognized at the 2024 Cannes Film Festival, were she received the Un Certain Regard — Best Director award, sharing the honor with Roberto Minervini for “The Damned.”

A Surreal Beginning: Missy Elliott and a Corpse

The film opens with an unsettling scene: Shula (Susan Chardy) discovers her Uncle Fred deceased on a deserted road.The scene’s peculiarity is heightened by Shula’s attire – the iconic inflatable black patent-leather suit and sunglasses mask popularized by Missy Elliott in her “The Rain (Supa Dupa Fly)” music video.Shula is returning from a costume party,fully committed to the look.

As Shula notifies the authorities and her family, preparations for the traditional funeral commence. This initial scenario, both bizarre and captivating, instantly establishes the film’s distinctive tone.

The director doesn’t play “The Rain,” yet the lyrics appropriately fill the silence, the narrator recalls, “As Shula calls the cops, I found myself silently mouthing the song’s Ann peebles-sampled chorus, “I can’t stand the rain against my window.”

Unearthing Secrets: Abuse and Mourning

During the mourning period, Shula and her cousins, Nsansa (Elizabeth Chisela) and Bupe (Esther Singini), confront a shared, painful secret: they were all victims of Uncle Fred’s abuse. Astonishingly, fred’s young widow receives little empathy from the family, who seem to fault her for not displaying sufficient grief. This dynamic highlights the complexities of grief, denial, and societal expectations within the family structure.

Susan Chardy and Elizabeth Chisela in “On becoming a Guinea Fowl.”

Chardy’s performance as Shula is particularly noteworthy, showcasing a character grappling with suppressed emotions. The interactions between Shula, Nsansa, and Bupe are powerful, each actress portraying different coping mechanisms for their shared trauma. They are “They all have ways of dealing with their trauma, ways that run counter to the circle of aunties loudly revering Uncle Fred as part of the funeral rituals.”

Cycles of silence: confronting the Past

The film poignantly illustrates how family members,aware of Fred’s predatory behavior,chose to ignore it. Now,in the wake of his death,they appear unwilling to unearth the past or consider the ongoing suffering of younger generations. This reluctance to hold Fred accountable sparks outrage, yet the film acknowledges the intricate nature of this refusal.

Drawing parallels with faulkner’s famous quote, “The past is never dead. It’s not even past,” the film probes the potential for breaking this cycle of silence and denial. The women seem to be competing “to see who can mourn him with the moast emotion.”

The Guinea Fowl’s Warning: A Call to Action

Interspersed throughout the film are segments from a children’s program, illustrating the characteristics of the guinea fowl, notably its warning call when a predator approaches. This symbolism is crucial, serving as a metaphor for the film’s central theme: the need to identify and confront predators to protect the vulnerable.

“On Becoming a Guinea Fowl” culminates in a potent and thought-provoking conclusion, leaving viewers to contemplate the film’s profound message long after the credits roll. The film ends on an action described in its title, and it is indeed a striking coda.

Conclusion: A Haunting Masterpiece

“On Becoming a Guinea Fowl” is a cinematic triumph that unflinchingly explores themes of trauma, tradition, and the complexities of family dynamics. Nyoni’s masterful storytelling, combined with stellar performances, creates a haunting and unforgettable experience. Don’t miss this powerful film that challenges us to confront uncomfortable truths and break the cycles of silence. seek out screenings at local film festivals and autonomous theaters,and join the conversation surrounding this essential work of contemporary cinema.

How can viewers contribute to creating safer spaces for survivors of abuse?

Exploring Trauma and Tradition in “On Becoming a guinea Fowl”: An Interview with Film Critic Anya Sharma

Rungano Nyoni’s latest film, “On Becoming a Guinea Fowl,” has been generating buzz for its unique blend of surrealism, satire, and social commentary. We sat down with Anya Sharma,a film critic specializing in African cinema,to delve deeper into the film’s themes and artistic choices.

The Power of Surrealism in Storytelling

Archyde: Anya, thanks for joining us! “On Becoming a Guinea Fowl” opens with a striking image – a character in a missy Elliott-inspired outfit finding a dead body. How does Nyoni use surrealism to set the stage for the film’s exploration of trauma?

Anya Sharma: It’s a pleasure to be hear. That opening scene is unforgettable! nyoni masterfully uses surrealism from the outset to signal that we’re not just watching a straightforward narrative. The unexpected juxtaposition of the pop-culture reference with death instantly creates a sense of unease, reflecting the characters’ internal turmoil and the film’s deeper exploration of suppressed emotions and uncomfortable truths surrounding family secrets and abuse.

Unpacking the Complexities of Grief and Denial

archyde: The film delves into the complexities of grief and denial within the family. what are your thoughts on how Nyoni portrays the family’s reaction to Uncle Fred’s death and the subsequent revelations?

Anya Sharma: Nyoni doesn’t shy away from portraying the uncomfortable realities of family dynamics. The film highlights the hypocrisy and societal pressure surrounding grief, notably the pressure to mourn in a specific way. more importantly, the film addresses the silence and complicity surrounding the abuse, demonstrating how communities may protect perpetrators at the expense of vulnerable victims. The film bravely explores how denial can perpetuate trauma and protect abusers.

The Symbolism of the Guinea Fowl

Archyde: The guinea fowl serves as a powerful metaphor throughout the film. Can you elaborate on its importance and how it connects to the film’s central message?

Anya Sharma: The guinea fowl, signaling danger with its distinct call, functions as a constant reminder of the need to be vigilant and confront predators. In the context of the film, it symbolizes the importance of speaking out against abuse and breaking the cycles of silence. Nyoni uses this symbol effectively to urge viewers to recognize and challenge oppressive systems that enable harm. It serves as a call to action,prompting us to become the “guinea fowl” for the vulnerable.

Breaking the Cycle of Silence: A call to Action

Archyde: “On Becoming a Guinea Fowl” ultimately challenges viewers to confront uncomfortable truths. What lasting impact do you hope the film will have on audiences?

Anya Sharma: I hope it sparks conversations about intergenerational trauma, the complexities of family dynamics, and the importance of speaking out against abuse. Nyoni’s film is a powerful reminder that confronting uncomfortable truths is essential for healing and breaking the cycles of silence. It challenges us to examine our own roles in perpetuating or dismantling harmful systems so that we are better allies for those at more risk.The film creates space for dialogue that needs to addressed in modern circles.

Archyde: what’s one question you’d like audiences to consider after watching “On Becoming a Guinea Fowl?”

Anya Sharma: I’d ask,”How can we,as individuals and as a society,create safer spaces for survivors of abuse to come forward and be heard?”