Few things are as dangerous as familial cultures of silence around the perpetuation of abuse. Of course, it’s common for families to want to protect their own, and in many cultures that’s considered a sacred duty (or, at least, close enough to one). When that protective instinct is utilized wrongly, entrenched around protecting a predator and failing to protect the family’s most vulnerable, it can have lasting impacts on the lives of too many young people. On Becoming A Guinea Fowl is a devastating challenge to these cultures, centering a protagonist who has had enough after a lifetime of sweeping it under the metaphorical rug. The film is a powerful warning around the effects of these toxic family tendencies, centered around a set of exceptional performances to strong dramatic effect, for a film that shouldn’t be missed.
What Is ‘On Becoming A Guinea Fowl’ About?

As Shula (Susan Chardy) drives down a dark Zambian road late at night, coming home from a costume party, she’s surprised to see the body of her Uncle Fred (Roy Chisha) lying dead in the middle of the dark road. Shula remains stoic, but all sides of her family converge in mourning to honor Fred and exemplify familial customs. Cousin Nsansa (Elizabeth Chisela) won’t stop drinking, and everyone’s emotions are high, but Shula remains under fire for her response. Terrible long-held family secrets start to come to light, revealing that many young women of the family suffered abuse at Fred’s hand, which was swept under the rug repeatedly. Shula and her cohort ally to challenge that culture of silence over abuse.
‘On Becoming A Guinea Fowl’ Is A Bold Film Anchored by Intelligent, Subtle Choices

A24

Stoic characters can be difficult to build a dramatically rich story around. Often hiding emotions and often difficult to connect with as a consequence, it takes a skillful hand to translate those attributes into a layered and powerful role. As Shula, Susan Chardy gives a beautifully nuanced performance full of subtleties and action. From moment one, she’s set to draw our attention, unmissably dressed as rap legend Missy Elliott in a silver headpiece and comically inflated costume that draws a stark contrast to her unresponsive demeanor. She doesn’t look like someone inexpressive, so why the odd response here? It’s a beautifully written and adeptly performed role as the layers peel away to reveal her history shared with many others of her family. Nsansa’s emotions are drowned in alcohol and worn largely on her sleeve, and Elizabeth Chisela gives an excellent performance as well, far louder but with simmering trauma buried deep. The transparent contrast smartly demonstrates that responses to predation can take many forms.
We’re given increasingly deep looks into the inner workings of Shula’s family culture, a look into how such a widely known evil can be swept under the rug. A generation of adults failed their girls, and the reasons are myriad: they don’t want to make waves, don’t believe the tales, or thought that it could be made someone else’s responsibility to take care of. When Fred is found dead, there’s strong pressure to let it die with him instead of dredging up old wounds and protective failures. These interludes are frustrating to see, weighty and powerful. It’s as hard not to be devastated for these young women as it is to be infuriated by such a toxic culture of silence. Herein lies the connection to the titular guinea fowl. It’s a highly useful animal for the loud alert it gives when predators are around, benefiting the surrounding animals. It’s a beautiful metaphor to contrast against these toxic familial silences.

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At times, the extent to which the family’s resistance is entrenched gets dramatically repetitive. There are a couple of surreal interludes that are largely well executed but are a little confusing, not adding altogether that much to the narrative. Still, it’s a strong film centering a devastating set of central performances that sticks the landing. David Gallego’s cinematography punctuates the film with smart shots. A few needle drops are exceptional. It’s a simple but emotional tale that’s elevated by a variety of smart, small choices to great effect.
‘On Becoming A Guinea Fowl’ Is A Heavy But Well-Executed Challenge To Familial Cultures of Silence

Image via A24

On Becoming A Guinea Fowl is a bold, moving piece of filmmaking. Written and directed by Rungano Nyoni (who won Un Certain Regard – Best Director at the 2024 Cannes Film Festival), it walks a difficult tightrope of attributes. It’s appropriately direct and clear about its themes, though they’re handled with evident artistry. It exhibits an understanding of these cultural toxicities without excusing them, and it displays a variety of responses by survivors of abuse with nuance and care. It’s anchored by a wonderful central performance from Susan Chardy, who finds layers of nuance in Shula as her anger over the situation bubbles to the surface. It’s an excellent film, and a strong display of talent across the board.
On Becoming a Guinea Fowl is now playing in theaters.

On Becoming a Guinea Fowl

On Becoming A Guinea Fowl is a moving, layered look at the toxicity of familial cultures of silence over abuse, and a stark reminder of the need to challenge them.

Release Date

October 3, 2024

Runtime

95 minutes

Director

Rungano Nyoni

Writers

Rungano Nyoni

Pros & Cons

Susan Chardy gives a powerful performance as the stoic Shula, while Elizabeth Chisela is similarly electric as the messy and complex Nsansa.
The film is laden with strong technical choices, from exceptional shot framing to smart needle drops, that elevate the drama.
The script handles tough material with clear, pointed thematic lessons that yet avoids being too blunt or melodramatic.

Some of its more dreamlike or surreal moments and other flourishes muddy the narrative experience without adding enough to balance that out.