Shannon Cotter hatches her verdict in her review of On Becoming a Guinea Fowl.
In 2017, Zambian-Welsh director Rungano Nyoni made waves when her debut feature I Am Not a Witch nabbed a BAFTA for Outstanding Debut by a British Writer, Director or Producer. Her latest feature, On Becoming a Guinea Fowl, produced by our own Element Pictures, was already a hot shot before it hit the Croisette, having been acquired for distribution by A24. What follows is a strangely affecting and powerful film that delves deep into the roots of family, secrecy and the light we choose to perceive people in — even when they’re dead.
Shula (Susan Chardy) is returning home from a costume party when she finds her uncle Fred (Roy Chisha) dead on the road. When the announcement becomes widespread, family members descend on Shula’s home en masse to pay their respects in the form of sleeping, wearing identical clothing and wailing together in a circle. To some, it may be comforting; to Shula, it seems unnecessary and stifling. Despite everyone’s grievances, Shula remains unmoved and indifferent — even scornful — of the whole occasion. There’s a growing question as to where this distaste for her uncle comes from. Then, we’re given the answer in the form of a heartbreaking video from Shula’s cousin Bupa (Esther Singini).
So often, death is thought to be able to wash away the sins of the living. “Do not speak ill of the dead” is a common phrase put forward as a courtesy to those grieving — but what if the dead in question were morally murky, cruel people? On Becoming a Guinea Fowl is a frustrating watch because, due to Uncle Fred’s death, Shula is denied any type of closure. That is not to say it isn’t for lack of trying, but family members seem to be wilfully obtuse of Shula’s trauma, even though it was an open secret when he was alive.
Yet perhaps the most daring thing about Nyoni’s film is that there is no outburst or argument. Her writing remains impressively restrained as the apathetic Shula tries to scramble for answers with only walls rising to meet her. At no stage does she rebuke anyone in tears or have a screaming match — classic Hollywood trademarks which often pave the way for Oscars. But it is fitting and real, and pays tribute to the victims who are forced every day to continue through life with no acknowledgement or retribution for the pain they have suffered. Even the adult characters’ lack of action against Uncle Fred stands testament to how much society chooses to ignore atrocities if it is believed further investigation will damage the status quo.
The women in Shula’s life don’t seem to be of great support either. At one stage, Shula is informed her aunties and mother sat down with him to have a stern talk, ensuring he was “not to do it again.” Yet we are still witnessing Bupa — who is several years Shula’s junior — experiencing her own pain, in and out of hospital during the film. Most of the blame for Uncle Fred’s death (whose body was found near a brothel) is placed on his young wife Chichi (Norah Mwansa) due to complaints she didn’t cook enough for him, completely ignoring the fact she married him as a minor.
This victim-blaming is embedded into the film’s patriarchal society, the men often grifters looking for Shula’s money or placing expectations on the women to carry out all ceremonial duties. The characters’ hypocrisies are so maddening that at times it’s almost funny to watch them unfold. That is once again due to Nyoni’s tight script. Snatches of humour come to life in the form of Shula’s cousin, Nsansa (Elizabeth Chisela), whose bold, audacious energy is the antithesis to Shula’s quiet calm.
There is a strong sense of empowerment seen in the victims’ solidarity and steps towards change. Nyoni begins the film with a children’s television show musing whether the viewers can guess which animal they are describing, and finishes it with a rewarding conclusion that ties up the whole story. On Becoming a Guinea Fowl is a thought-provoking, often frustrating piece which stands as a solid reflection of our reality and how — despite all our progress — we haven’t changed that much, or don’t wish to, at least.
On Becoming A Guinea Fowl is available to stream online now.
