On Becoming a Guinea Fowl primarily exposes society’s neglect of the female gender and reveals how performative grief can be.
By Fejiro Sagua
A telltale sign of a film with a strong, resonant message can be a title that is difficult to decipher—such as the Zambian-Welsh filmmaker, screenwriter, and actress, Rungano Nyoni’s award-winning sophomore feature, On Becoming a Fowl. Even more intriguing is how the trailer for this film does not fully reveal what it might mean to be or become a guinea fowl, making it all the more compelling for viewers.
A particular scene towards the film’s end obliquely clarifies its title, as a speaker explains that guinea fowl are chatty creatures, their noise highly valued in the Savannah for alerting other animals to a predator’s lurking presence.
However, Nyoni explained in an interview that the reference to the guinea fowl was not just about their noise at the sight of a predator but also about their ability to escape or even defeat a predator when united.
One might assume that individuals exhibiting guinea fowl traits would be valued, as they are in the wild. However, in a traditional Zambian family that conceals a sexual predator’s misdeeds—even in death—On Becoming a Guinea Fowl reveals that such individuals must grapple with the hypocrisy of tradition, making the journey of ‘becoming a guinea fowl’ an experience worth capturing on film.
Written and directed by Rungano Nyoni, On Becoming a Guinea Fowl had its world premiere at the 77th Cannes Film Festival in the Un Certain Regard section on 16 May 2024, where it won the award in that category.
The film has also screened at the Melbourne International Film Festival, the Foyle Film Festival, and the Surreal16 Film Festival in Lagos, Nigeria. The key cast includes Susan Chardy, Elizabeth Chisela, Henry B.J. Phiri, Roy Chisha, and Blessings Bhamjee.
The story of On Becoming a Guinea Fowl begins when Shula (Susan Chardy), on her way back from a party late at night, discovers her Uncle Fred’s corpse lying in the middle of the road in a middle-class Zambian neighbourhood. She calls her father to report the news in a casual tone.
At first, her composure and reticence as she approaches the body seem puzzling, but the surreal image of her much younger self standing over the corpse as she returns to her car hints at childhood trauma. Hours later, her cousin Nsansa (Elizabeth Chisela) joins her in the car.
Other extended family members are soon notified of Uncle Fred’s death, and the mourning period begins, ushering in a transformative experience for Shula and Nsansa, whom, the story soon reveals, were sexually abused by their deceased uncle as girls.
Shula and Nsansa remain unmoved by the family’s strict adherence to and devotion to the mourning rites, especially as it had been an open secret for years within the family that he had been abusing his nieces. They navigate the mourning period together, subtly drawing strength from one another.
The cinematography of On Becoming a Guinea Fowl deserves recognition, as it skilfully captures the story’s gradual transition from gloomy entrapment to hope and clarity. The earlier scenes feature low lighting, close-up shots, and silence, but as hope is gradually introduced, the shots become brighter and wider, accompanied by more sound.
The production also handles characterisation impressively. Shula’s calm and reserved nature contrasts with Nsansa’s bubbly and delightful personality. This calculated characterisation smoothly leads to comic relief, with Nsansa’s character easily making the audience laugh, while Shula reminds us of the seriousness of the matter.
However, On Becoming a Guinea Fowl stands out even more through its themes and story quality. Irony is strongly employed to convey the message, and it is portrayed in the following way: the Zambian Bemba culture explored in the film is highly matrilineal, with close bonds between women considered essential.
Yet, the women in Shula’s family fail to utilise the strength of their bond to combat Uncle Fred’s predatory behaviour. Instead, they collectively silence their daughters, who are left to take up the mantle of being the guinea fowl.
On Becoming a Guinea Fowl primarily exposes society’s neglect of the female gender, particularly through Shula’s family’s blind-eye reaction to Uncle Fred repeatedly molesting their daughters, and worse still, forcing them to follow tradition and mourn his death. By extension, it shows how performative grief can be.
The film also portrays the victimisation and ostracisation of widows through the family’s treatment of Uncle Fred’s teenage widow. They blame her for not taking care of her husband who had left her with six children and as a matter of fact, died in front of a brothel.
Another theme solidly explored in On Becoming a Guinea Fowl is heroism. Shula, who had been forced into repression by childhood trauma, valiantly rises to seek whatever justice remains when she discovers that even the younger generation of girls in the family had been preyed upon by Uncle Fred before his death.
On Becoming a Guinea Fowl makes for an absorbing, realistic, and thought-provoking watch, evoking a range of emotions and awakening viewers’ awareness of the importance of being a “guinea fowl”.
Rating: 3/5
Fejiro Sagua is a writer and film enthusiast who loves diving into the world of movies. She’s always on the lookout for great stories and new films to watch. When she’s not busy writing or watching movies, you can find her reading books, at the gym, creating content, or having interesting conversations with friends, family, or even strangers.