Movies

In the subtly powerful ‘On Becoming a Guinea Fowl,’ stubborn wrongs linger during a funeral

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How does one appropriately cope or mourn when an act can’t be forgiven for a terrible deed? In Rungano Nyoni’s captivating, atmospheric family drama “On Becoming a Guinea Fowl,” a woman (Susan Chardy) comes home to grapple with funeral customs after the death of her uncle — traditions that contradict the truth of his monstrous nature.

Nyoni’s second film, awarded the directing prize at Cannes, is a follow-up to her critically acclaimed 2017 debut “I Am Not a Witch.” In the earlier film, Nyoni humorously portrayed a harsh reality where a strong, orphaned 9-year-old girl from a village is labeled a witch due to deep-rooted misogyny. Her latest work, however, delves deeper into personal suffering and cultural influence, focusing on the devastating impact of sin and silence in societies that embody patriarchy within their matriarchal structures. This compelling narrative about the lingering effects of sexual abuse resonates with audiences regardless of their background or knowledge of African tribal funeral traditions.

The captivating and intense opening scene itself could pass as a powerful mini-film about the topic. Leaving a party in costume, Shula (Chardy) stumbles upon a corpse on the road. Although we don’t get a clear view of the man, once she removes her advanced party mask, her emotionless glittering eyes reveal an unsettling familiarity. A brief flashback to her childhood self (Blessings Bhamjee), wearing the same flowing black party dress, adds a haunting sense of certainty. On the phone, Shula’s father (Henry B.J. Phiri) seems skeptical, saying it’s just a trick: “Uncle Fred can’t die — he only needs a splash of water.

In the film, Shula’s long-buried trauma resurfaces, a traumatic event from her childhood that sparked an obsession with the warning call of the title bird. This trauma now expresses itself in Chardy’s captivating, tense silence in the movie’s present day. One of Nyoni’s more ethereal and dreamlike visual effects is depicted through a house susceptible to flooding. As more relatives arrive, intensifying the expectation for Shula to take part in a prolonged funeral, family members enforce their mourning, even harshly labeling the young widow (Norah Mwansa) as a gold digger. Amidst this gathering that traditionally strengthened through hiding unspoken truths, Shula seeks answers and accountability.

Despite this, Shula’s connection with other victims of her generation deepens, including a sharp-witted cousin (Elizabeth Chisela, who has a tendency to overindulge in alcohol) and a college student (Esther Singini) who concerningly faints. In another instance, it sparks a united uprising among the older women, momentarily allowing their suppressed suffering to surface. However, challenging her father at his workplace about the unspoken matters regarding Uncle Fred proves fruitless. His exasperated retort is, “Should we question the dead?

The way Nyoni films this scene from afar, not giving the main male character a close-up, suggests something significant. This film seems to assert that justice lies with women, if they acknowledge the power they possess within their community. “On Becoming a Guinea Fowl” presents an intriguing blend of character and time, creating a tense environment where secrets about harmful men cause unease. Nyoni’s talent shines in depicting the divide between public and private life, as well as the past and present, as places where suppressed emotions awkwardly overlap, making it difficult for anyone to feel completely whole.

In Nyoni’s impressive works, it is essential to highlight David Gallego’s captivating cinematography that masterfully portrays both moonlit interiors and exteriors filled with eerie shadows, hinting at an endless night softened by pockets of ghostly light. The daytime scenes carry a somber tone, too – this is particularly evident when Shula ventures to her late uncle’s house, discovering a neglected dwelling inhabited by forgotten children, which seems destined for abandonment at the hands of her critical aunts. However, these dark moments serve as a foundation for this film’s striking finale, a poignant scene showcasing sunlight, bird sounds, and human uproar. A sense of quiet suffering can only be endured for so long.

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2025-03-07 18:01

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