When we meet for the first time in Shula (Susan Chardi), the quietly quietly calm novel “to become a Guinea bird”, she leads home from a luxurious party, wears dark shades, a shiny metal helmet, and a black-blown flawless-appears to be a buny bag in garbage-drops from her neck. Some will learn about the appearance as a tribute to Messi Elliot, specifically her 1997 music video, “The Rain (SUPA DUPA FLY)”; Others may wonder whether she was a shola, with her loose, like bird -like phrase, has already become a Guinea bird. Either way, there is something strangely anxious about the way Shula brings us disguised and armored, as if she was guarding the truth of who she was. The sweet, beloved Chardy performance is very important to this meaning, and it turns out to be the key to the movie. In the scene after the scene, Shula does not say much, but there, in every framework in practice, which is an unambiguous concern in its composure, as if her appearance of calm requires a great effort to will.
It is late at night, but something he sees forcing her to stop driving, get out of her car, and investigate. A man lies dead on the way, and it is immediately clear that she stopped curiosity or anxiety, but confession. Certainly, the body belongs to fifty years from her uncle Farid (Roy Chisha), a fact that she records without sadness or shock, and indeed, with a specific secession. How can you put Shula, on a faint street in the death of the night, eyes on a weak body that is not described and realized, in its intestine, exactly who was? The answer soon was revealed: It was a unique sexual predator. It has been shown that this is the open secret in the large -class Shola family, although it is not, apparently, seriously enough to stop the glove from the mourning awaiting us. “When you become a Guinea bird,” Rongano Newoni, the British director born in Zambi, his family moved to Wales when she was a child. Its second advantage, which is tight, absorbed, and in ninety -nine minutes, is brief without mercy. But what it is witnessing, for several days and nights of the funeral rituals, is an amazing endurance test, as Shala is assigned to honor the wallet.
Shala grew up here, in Zambia, but she recently returned, after some time. Newoni is the story of the return to the unusual homeland, with terrible memories faced. Shala was misused by Farid as a child. Likewise, her cousin was NSANSA (Elizabeth Cesella is noisy), and he could not broadcast and exciting like Shula cautious and strict. When NSASASA tells the time when Farid took it to the hostel years ago, it does it with unexpected boats, and mocked the genitals of it, which means that he was barely able to violate it; Just later, after realistic, do you recognize the terrible and more normal reality of what happened. His younger cousin, BUPE (Esther Singini), tells her long, compact story about ill -treatment in a video on a sudden cell phone, only part of which we see and hear; Later, in an amazing official draw, BUPE’s words overlap and merge with Shula’s. The point is not simply that the cousins share a painful experience, but that individual certificate has a collective strength. One woman, in publicly speaking, can talk about others as well.
If “it becomes a Guinea bird”, it was purely visualized as a drama of discovered memories, the shock that has not been canceled, and the disappointed accountability, it would penetrate the bone. But Newoni goes further. It is not a coincidence that Shula shares her name given with the young protagonist of the novel from the first feature of the strong director, “I am not a witch(2017). “To become a guinea bird,” is the precious intimacy and the authenticity of Shala with her cousins unleashing through social obligations and anxiety in the funeral; they were almost suffocated before they can start taking a meaningful root.
Photography NYONI preparations and rituals with monitoring accuracy that sharpen our special focus. It is an amazing scene. Relatives collectively descend on the Shula family home, which is now temporarily “funeral home”; The furniture is cleared away, and the ranks are brought to women who are inside, while men set up the camp abroad. This separation between the sexes is fixed. It is the responsibility of women at home to make arrangements, buy food, and cook meals. Amid power outages (the gesture of the power crisis in Zambia) and the unexpected floods, a complete mechanism of mourning in the gear, Shula and her cousins are among the most gears. In one sequence, it raises occasional anger, Shula is desperately looking for BUPE, and she feels very anxious about her well -being, just to distract her from the time and time repeatedly by the older male relatives who are demanding to serve them. It also confirms the uselessness of the general sex of male sex is the father of Shula (Henry B J. Ferry), who never misses an opportunity to strike his daughter for money and turns deaf ear to a large extent into any unique word.
The older women in the Shula family, despite the superficial gesture of support and mercy, are not much better. Shala was intimidated by her aunts, who scolded her because of the shower-something completely forbidden until the period of mourning-and they demanded the reason for the reason for her dryness in the wake of her uncle’s death. In these moments, “to become a Guinea bird” achieve an amazing panorama of alienation across generations, as unique violations showed that they destroyed any useful relationship between mothers, girls, aunts and girls. Miscellaneous, Newoni and Galgo transmits this rupture almost completely through the synthetic concentration. In early mourning scenes, they use the camera’s position to hide the faces and identities of the older women in a strategic way, which reduces them to unique blur from crying and crying. Besides a lot of misery, she takes the constant calm of Shula on a very moral clarity, and throw the futility of the entire task in a blatant relief. Even when Shala’s character is partially vague, or was photographed from behind, we can generally tell her of a group of her shoulders – the language tightened in Chady is dark eloquent – what you think and feel well.
One of the most tragic characters in the film is the unique widow of the deposit and the young shock (Nora Mansa), who is treated abnormally by the aunts of Shula. They accuse her of Farid’s leadership until his death through lack of responsibility and neglect, and they are trying to arm this accusation financially, and they deprive her and relatives of any claim of unique property. In fact, the circumstances of Farid’s death appear to be mysterious or suspicious. It is implicit that he ended in a prostitution house, most likely in the middle of Rabat, and not far from the path where his body was found. Newoni could play “to become a Guinea bird” as a mystery in killing, a funeral. There is certainly there is no shortage of suspects or motives that Farid Al -Baghafah is interested in. But in reality there is no invaders in playing here: How can Sala and their general people, amid a lot of demonstration, to drop the truth? What is the relationship of that entitled The Phantom Film is unforgettable?
The two answers are deeply intertwined and imaginative, and the strange importance of Guinea, such as wounds and scars of abuse themselves, can be found in the depth of memory fog. The exciting excitement should be seen frightening and hearing it. It is sufficient to say that this tea is definitely not charming, but by the end, there is no denial because it – and noon – a deep ability to magic. ♦
