Celebrating Black Love Through Art with RAFIKI (2018) By Constance Cherise
"I truly believe that the right to love is the most basic human right." - Wanuri
Kahiu In a society where traditional roles are prevalent, RAFIKI (2018), translated as “friend” in Swahili, is a love story between two coming-of-age women in Nairobi, both choosing to be led by the unavoidable direction of their own hearts. When Kena (Samantha Mugatsia) and Ziki’s (Sheila Munyiva) eyes meet, sparks begin to fly. The tranquil and sensible Kena is introverted, while the extroverted Ziki is radiantly effervescent. Her exuberance combined with her rebellious nature, naturally propels Kena’s attraction. After their first meeting, Kena’s mother senses her daughter’s inner glow, which, of course, manifests as an outer glow.
When their relationship is unveiled, Kena’s father is untraditionally accepting, enveloping Kena in his warm embrace. Kena’s indoctrinated mother disapprovingly rejects her as Kena’s father admonishes his ex-wife, citing the alternative choice of compassion. Hands are laid upon Kena as she is prayed over to rid her of the demons that surely have possessed her being. But, Kena’s dismal circumstance is of no consequence. Kena is unapologetically in love.
Winner of two African Movie Academy Awards and a GLAAD Media Award, as well as a list of additional accolades, RAFIKI was inspired by Monica Arac de Nyeko’s 2007 Caine Prize-winning short story “Jambula Tree” and is directed by the progressive Kenyan filmmaker Wanuri Kahiu. The film is in a genre of film described and coined by Kahiu as “Afro Bubblegum.” Kahiu explains the classification as “fun, fierce and frivolous… the advocacy of art for art's sake.” However, the “ars gratia artis” motto famously surrounding MGM’s Leo the Lion is not the groundbreaking director’s only link (albeit a loose one) to classic Hollywood.
As of the release of the film, homosexual relationships were illegal in Kenya. Much like the scrutiny of the Motion Picture Production Code in early cinema, The Kenya Film Classification Board requested the conclusion of the film to be "more remorseful," according to Kahiu. Refusing to alternate the film, Kahiu stated, "I never wrestled with changing the ending." Subsequently, the film was banned in Kenya, and in turn, Kahiu sued the KFCB. In an effort to meet the seven-day screening requirement for Oscar consideration, restrictions of the film were temporarily lifted. Extra screenings were added as sold-out crowds packed theaters, and in May 2018, RAFIKI became the first Kenyan film to play at the Cannes Film Festival.
In the film, Kahiu creates a quietly powerful scene when the town outcast, a gay man, sits beside Kena after her secret is publicly known. Although it seems he wants to say something, they don’t speak. They don’t look at each other. He simply sits beside her. He knows words are not necessary. Their unfortunate and unspoken connection is apparent and with a slight turn of his head, as tears start to run down Kena’s cheek, he acknowledges the pain that is new to her but all too familiar to him.
The casting of this film is absolutely flawless, there is not one performer whose acting did not come across as genuine. Mugatsia, an untrained actress who Kahiu noticed at a party and immediately recognized as Kena, consistently hits every mark. Munyiva’s charisma permeates the screen with her multicolored dreadlocks and alluring smile.
RAFIKI did not win accolades for its subject matter. Lesbian films are nothing new. RAFIKI’S inclusive appeal is the beauty in which the story is presented, the joy of a hopeful ending, which, as classic film fans familiar with the Motion Picture Production Code know, the mere spark that a favorable ending could be possible under socially adverse circumstances is an ominous threat, for the fact that it can cause one to re-evaluate. Kahiu sweeps away the sand to reveal the pearl, notably capturing what is most precious, and because she accomplishes this with such gentle precision, it is clear why the film was banned.
You do not walk away from RAFIKI regarding it as a lesbian love story, you walk away merely seeing it as “a” love story, and you don’t need to be part of the LGBTQ community to recognize or relate to it, you simply need to...be.