A24 and Rungano Nyoni’s latest film, “On Becoming a Guinea Fowl,” hits screens in the United States on March 7, having released earlier in the United Kingdom and Ireland on Dec. 6, 2024. The film, co-produced in Ireland, the U.K., the U.S. and Zambia, explores the family dynamics that come into play during a funeral.
The movie opens on a scene of revelry — in stark contrast to the funeral — with Shula (Susan Chardy) driving home from a costume party at night. While driving through empty roads, she stops upon seeing a dead body, which she quickly recognizes as her maternal uncle Fred. Confused, yet not emotionally perturbed, Shula calls up her father (Henry B. J. Phiri, “Black Dollar”) to inform him about what she has seen. She is joined at the scene by her cousin Nsansa (Elizabeth Chisela, “Pa Maliketi”), who is distressed and drunk. Together, the duo calls the police and navigates the awkward situation.
Soon after, Shula is rushed mid-meeting by her maternal relatives to pause her life as a white-collar worker in a multinational company and participate in funeral proceedings. Throughout the process, Shula is poker-faced — cooperative without being enthusiastic. While at the funeral home, Shula comes across some information that makes her question her family and leaves her with moral doubts regarding the funeral.
The film is a gripping and well-packaged product that prefers situational ironies to dialogue as a means of communication. Cinematographer David Gallego frequently uses darkness in the shots to set the mood and build mystery and intrigue. Several scenes also feature dull and repetitive background thuds to convey the main character’s confusion and mental fatigue. The set design is also minimalistic, with just enough details for the viewer to remember and connect to later. There are also just a handful of characters the viewer needs to keep track of, making the film an easy watch.
Chardy as Shula phenomenally suppresses her emotions in the first part of the film before showcasing her range in the latter part. Her character drives the film’s moral questioning and fits the role of the middle-generation, unwilling familial pillar. Through Shula, the film explores the complex nature of familial ties, the way dependence on family can be a double-edged sword. The volatile Nsansa, seen as a liability to Shula early on during the film, also showcases her importance as Shula’s ally in her moral struggle. As compared to Chardy, Chisela’s performance is full of emotion and melodrama and acts as a foil to the lead.
While situated in a middle-class Zambian context, several elements of the film are universally relatable — familial power dynamics, sexism, justice, the influence of elders as moral decision-makers, and the difficult choice between independence and communalism. Director Nyoni also intelligently portrays Shula’s relationship with her mother and father. While she is closer to her mother, she considers her father more of an objective decision-maker, given her mother’s personal stake in the matter.
Overall, “On Becoming a Guinea Fowl” is a lighthearted exploration of a complex issue. With its artful cinematography, well-crafted screenplay and engaging soundtrack, the film’s 95-minute runtime breezes by.