SUSAN CHARDY IN THE OPENING SHOT OF ON BECOMING A GUINEA FOWL

RUNGANO NYONI: ON BECOMING A GUINEA FOWL (2024) -NEW YORK FILM FESTIVAL

The truth comes out when a man dies in Zambia

What's notable in Rungano Nyoni's new film focused on a big family funeral is the seamlessly assumed eccentricities of the numerous family, which includes relatives of the poor widow, who seems to wind up blamed for her late husband's dramatic flaws, if she's not careful. Again as in her debut I Am Not a Witch, (seen but due to embargo not reviewed here) the Zambian-born, Welsh-raised filmmaker unfolds a misogyny fable focused basically on the harsh abuses faced by young girls even in ttoday's African society.

Driving home from a party still wearing an elegant surreal mask, protagonist Shula (Susan Chardy) comes across her uncle Fred lying dead, eyes open, in the middle of the road, in a location near what turns out to be a brothel. Dealing with this Shula retains some of the dry restraint her helmet and big shades implied. Quick flips between English and Zambian language also convey both detachment and sophistication, qualities doubtless needed to deal with breathtaking provocations and giddy contrasts between modern and traditional attitudes among family members encountered, particularly male ones, who often issue demands and make denials.

Somewhat inexplicably Shula gets assigned to organize a crowded family funeral for uncle Fred. We soon learn that Fred was not only a drunk who often didn't come home but a serial sexual abuser of young female family members: he got one pregnant when she was eleven. Why not, then, just put Fred away discretely and quietly, the less said the better? But that is not the family way. Maybe people don't know or, worse, they don't care. Even one of the victims brushes off her victimization, saying "Never mind; he's dead now, and that was years ago." Later however, she is found collapsed in tears.

Family warfare also applies, and thus it is that there's an attempt from hostile factions to blame the widow for the depredations of Fred and punish her by leaving her with no possessions. Is this democracy, or chaos? Anyway, because this is Africa a lot of what happens seems lively and funny and all of it is full of energy. Nyoni's film captures everything. It's modern, elegant, and brilliantly accomplished, though it meanders a bit toward the middle and could have used some heightening and trimming.

At one point in the wake a large group of family members seamlessly break into sweet, harmonious song: an exquisitely executed moment and a high point of this continually enjoyable and eye-opening film.

Peter Bradshaw noted the "unsettlingly playful surrealism" of this film at Cannes. But there is naturalism too, and fluid camera work and the varied interiors, which morph from primitive to hip, with lumpy furniture and big elongated wood sculptures, help contribute to making what might seem just a filmed play become something that could not have such fluidity on a stage.

The title takes us to a children's TV show about animals Shula is haunted by memories of, particularly an episode focused on a guinea fowl whose loud squawk was a warning of approaching predators - something she wished had been available to ward off uncle Fred.

On Becoming a Guinea Fowl, 95 mins., debuted at the Un Certain Regard section at Cannes May 2024, receiving the best director award. Also shown at Karlovy Vary, Durban, Poland, Melbourne, and the NYFF, where it was screened for this review. A coming A24 release Stateside. Metacritic rating: 80%.

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©Chris Knipp. Blog: http://chrisknipp.blogspot.com/.