Most of the people who see the British British director Rongano Newoni will not be the new, “Zambia”, Zambia. Like the first feature of Nyoni, “I am not a witch” (2017), I played in the cinema festivals, competed in award shows, and appeared in cinemas in many European countries, and now the United States. It may eventually appear on the background screens on international flights between those countries. You will find its place in the upper ranks of that excessive “World Cinema”. (Where else will the cinema be made?)
We generally love it when art bridges are like this, when it has a comprehensive or better attractiveness than cultures. But when I first went to see “I became Guinea’s birds”, at a movie theater in New York, I found myself sighing, crying and laughing a little of synchronization with the rest of the audience. It was as if I was watching the shadow of the movie, or hearing a hesitation that no one could distinguish. It made me want to take every person there aside, and restart the scene of the movie according to the scene, and say, “There. Did you pick it up? This is Zambian!” A lesson not in anthropology, but in aesthetics.
What does it mean to be Zambia? It is a difficult question. Our borders, if not completely arbitrary, are definitely judged by strangers during colonialism, and were installed on the map just six decades ago. Zambians come from a rise from seventy tribes; We do night news in seven languages, as well as English. The name of the country itself is a late invention, and it is a countryside on the name of the river that passes through – Zambezi, a word of uncertain origin.
However, there is something like Zambian. Anyone went to Zambia, who was suspended with the Zambians, who spent a dark time in various exact cultures, will get to know them. The sound may be the best way to describe cultural privacy. You don’t have to have a perfect stadium to enjoy a song. But learning the standards, time signatures, and the criteria of a specific music model that allows you to distinguish between amazing observations and amazing deplications, between classics and vanguard-and they are how they meet in harmony or disagreement.
Once, when I was trying to find out the best ways to describe a Zambi’s sense of paradox, a painter Note to me“You know, in Zambia, we have no yes, no. The idea lights up other aesthetic dimensions outside the Zambian humor as well. Al -Zambi yes means no.
It begins to become a Guinea bird “with a woman named Shula, played by Susan Chalde, in the beautifully modified Dibbot role, as he was driving a deserted road in Lusaka at night. I got a mask, and a silver rays that extend from the eye shadow. She is gently joking her head to the 1979 Lijadu Sisters, entitled “ComE ON HOME”, which begins with a sequence of talks that looks like us underwater.
When Shula stops, seeing something on the way, stopping the car, we realize that the mask is part of a full costume: black garbage outfit from Missy Eliott from the video of “The Rain (Supa Dupa Fly)”. Later, in a nice shrinkage of the AFROFUTURIST atmosphere for this opening, we know that the heavenly costumes of Sala are realistic details: it comes from a “delusion party”, which is not common in Lusaka-we like to hang, and we will celebrate almost anywhere.
Shala stopped because she saw a man lying on the road, wearing fire shoes. The camera stops over his purple shirt and his face is still. When you return to Shula, we get a flash snapshot of a mysterious halory girl – which is supposed to be a younger version of herself – which turns and sees with attention to her dual back return to the car in Zuhair Al -Jeer.
Shala invites her father, who is also at a party, and tells him that she just saw the body of Uncle Farid. The possibility of this transformation from events-my brother’s daughter is the first to find the body of her uncle-in the dynamic of the call: Shula bored, the issue of occurrence, Jolie, Jolie, is drunk. He laughs and says: “Farid cannot die. Just spray some water on him,” but he ultimately asks her to send her location – as well as some money for a taxi.
We cut an old loved video clip for children’s show, “The Farm Club”, which was hosted by two teenage girls, Mutale and Mazuba. It is very zambia! The small brick building is in front of; Its blue button with red pockets and lining. Call and response between hosts and children; The way the lesson is done through a mystery: “I found in Africa. I can live for about twenty years. I can grow to about seventy -one centimeters. I can come brown, red, yellow, black or white. What am I?” It is the memory of Shala, but it looks like me.
While her father is waiting, she listens to a self -escaping podcast, a American wandering around “hacking the relationship” to kiss a woman in the morning, withdrawing another car behind Shula. The woman comes out, clearly retreated, and examines the body on the way as well. It turns out that this coincidence is one of the other Uncle Farid’s daughters, NSANSA (amazing Elizabeth Seesella), who will be a funny man in Shala Stopan in a lot of the movie.
NSANSA is trying to attract her cousin into a festive mood by organizing a single party, and making a slow and charming grinding for the song “Godly” in front of the headlights. Then, drunk a conditional friend, who guides women waiting – “the problem there” is that the car needed to collect the body is used for “national duties”. NSANSA is looking for the glove room for something to cover the body in the meantime. “Let’s just use what is useful!” It suggests with Kake, opening the menstrual pillow and sticking it to the forehead of Shula. NSANSA finally covers the body with a blanket of the shoe.
Gray dawn. NSANSA snoring in the Shala passenger seat. An advertisement plate becomes visible: “Miracles: healing and salvation“A small sign accompanied by hand under advertisement”Maids“With a phone number. A man pushes a wheel vehicle down the road. While he passes near the body, he disappears.
The police, in the costume of green and beige, revitalize the body on the bed of a pickup truck, an officer who is behind the stage shoes. Passers are recorded on their mobile phones; NSANSA abroad is included with her police boy. She wanders with Schadenfrede, and she is on the window of the car window that Uncle Farid died within a stone’s throw from a brothel.
None of this was played for laughter, but it is happy with that. A lot of humor comes from the dialogue, which is conducted in what is sometimes called Zanglish: a group of local languages, in which case most of them Bemba, and our own Whatspun version of the English language, less than its torque in the grammar of the language. NYONI puts the entire translations of the film so that it can be indulged even other than zambians in this twinning flow of words without worrying much about the switching currents.
Shulaa, a departure from the inside, is “was” at home from the outside, is the ideal number for navigation in this mix of traditional and imported cultural forms. She is more annoying than discomfort when home workers start removing furniture from her mother’s living room to turn her home to the funeral home where mourners will meet. When relatives begin to reach, they crawl on their knees, penetrate a staircase around death, they immediately leave Shula to a hotel, a pink bag in clouds.
It takes a working video call, and a matrix of white heads that flow with one day of brown brown on the screen. There is a blow to the hotel room door. A costume came from the aunt to distort it. Why did you take a shower when a man died? Why not have it Chitenge Cover related to its waist? Why don’t you behave properly? Why not plan to bring her mother from the airport? Soon after, Shala is dragged into the mourning house.
The house is divided into gender and generations spaces. The Amu’un kneel, shine, hug on the floor of the living room, and burn greatly one minute, laughing on their mobile phones the next day. The uncles sit abroad, drink them steadily, and demand their favorite foods. The sisters’ daughters in the kitchen escaped in Sisvien by hiding in pigs for drinking and gossip. (“Farid was married?”; Imbaula Nearly to keep it warm.
Newoni and the Colombian cinematographer David Galigo re -exposes the normal details of life in Lusaka to a great effect – picked up the ethics of Zambia Nesonsa to call it “just using what is useful”. Engineering iron gates and concrete walls are made of scenes with a sense of connection. An inevitable maze of cars parked on the grass makes a family love trap. The funeral program dictates from the Aunty to the Shula Portless to a worker in a copy store: a reputation phone game. In the last scene of the film, print printed shirts with the face of the dead man makes him present in a distorted manner Indaba On his property.
