Review 1: Rafiki

Rafiki (2018)

Review by Samantha Krupica

Overall, Rafiki was one of the most vibrant films I have ever seen. Wanuri Kahiu’s picture was, in my opinion, the best film screened at Cannes thus far. The cinematography, narrative arc and acting styles were all beyond amazing. Kena and Ziki only want “something real” and to break away from their small town Kenyan lives. This longing for a better life, happiness and safety with each other grounds the seemingly niche film within the universal collective.

The film follows a pair of young star-crossed lovers in the midst of their town mayoral election. Ziki and Kena’s fathers are competing for the mayor position and the two are not meant to speak to each other. Opposing families, an old-fashioned town and forbidden love give the film an almost Romeo and Juliet essence. The two have an insane amount of chemistry from the very beginning and they communicate solely through quick glances and looks in the beginning. The upbeat opening of the film showcased the vivid cinematography to come with numerous shots of the film’s setting. Christopher Wessels was the set cinematographer.

Additionally, Rafiki can perhaps be described as a more modernized and diversified Call Me by Your Name (minus the predatory age gap). I find that Rafiki is better in every category and the unknown actors make a name for themselves here. The official description for the film says that, “the two girls will be forced to choose between happiness and safety.” Their strictly religious town and family are beyond homophobic. Kena is a closeted young woman who doesn’t know her worth. She claims to want to be a nurse, but Ziki gets Kena to admit that she really wants to be a doctor. Our alliances align with Kena and we do not know much about Ziki other than her dancing and vague dreams of the future. The hopeful duo are surrounded my an entire community of ignorant and old-fashioned elders and peers.

The active soccer scene was one of the most beautifully shot scenes. It simply featured Kena, Blacksta, Ziki and other town residences playing a short game of soccer. Additionally, the subjective sequences of Kena imagining Ziki are well shot, yet semi-laughable narratively. The narrative plotline of the film was entirely formulaic, yet the awareness of the subject and innovation of color and light gave the film a leg up amongst other films.

The abandoned van was a beautifully staged mock paradise for the couple. In a moment reminiscent of John Schlesinger’s Midnight Cowboy the couple are ripped from their safe haven to be brutally beaten by members of the town. This heartbreaking climax of the film truly showcases the hardships the couple faces. We caught a glimpse of the cruel ignorance in the town with derogatory glances, strange glances and disturbing sermons, yet no real action had taken place until this point. Kena and Ziki were forcefully beaten to ground by a huge mob of their peers with wounds that did not heal for weeks. Even their own parents were harsh. It was so hard to watch these interactions, but the lessons and compassion afterword is so important.

When Kena’s father, John, bails his daughter out of jail and seems to be the only compassionate and understanding man in the entire town. Then, when Kena reflects on his candidate position and how he wants the spot, he replies “there are some things I can never do.” This exact same quote is said in Noah Baumbach’s While Were Young when Ben Stiller’s character is reflecting on what he wants in life. Thus, this almost nihilistic viewpoint is instead a comment on the realities of life that we must accept.

The films viewpoint on Eastern African modernity is similar to Amelia Umuhire’s Polyglot in the sense of innovation, style and cultural growth. Additionally, the culture, the colors and the costuming were so vivid. Ziki’s pink hair is an iconic. The thematic juxtaposition between love and politics showcases our current world state of affairs. The somewhat positive ending of the film shows Kena as nurse, still in her home country, getting word that Ziki is back in town. The final shot shows Kena on the same cliff as earlier as she presumably sees Ziki again.

It was really interesting and eye opening to see this specific world view on gender and sexuality in Nairobi. I would recommend that everyone see this film, it is one of the best films I have seen to date.

Written by Jenna Cato Bass and Wanuri Kahiu, Directed by Wanuri Kahiu, Produced by Steven Markowitz

Starring Samantha Mugatsia as Kena, Sheila Munyiva as Ziki, Neville Misati as Blacksta and Jimmy Gathu as John Mwaura

Run Time: 83 minutes