‘Like Cotton Twines,’ A Cycle Of Pain and Small Triumph

 

Like Cotton Twines film poster.

Sometimes a real heartbreaker comes along to sabotage this Western conditioning of heroes and saviors— this cinematic belief that the poor victim will be saved in the nick of time. Leila Djansi’s film In Cotton Twines offers little glimpses of hope for an African teenage girl named Tuigi stuck in old ways. While set in a modern time with patriarchal structures and problematic religious practices set in stone, Black women and girls like Tuigi suffer the most tremendous costs. 

Tuigi’s smile is a constant highlight until it gradually stops occurring. DP Pete Villani.

The film opens on Tuigi and her best friend watch Tuigi’s mother giving birth; Tuigi vows that this will not happen for her. After a long wait, Tuigi finally gets her period, staining her demure pink dress. Later than other village girls, Tuigi’s family is pleased. Meanwhile Micha Brown, an American volunteer, is on his way to a new teaching position, enthused to come to Ghana, a place loved by his late mother who traveled there as a young girl. Micha and Tuigi soon form a bond. Unfortunately her foolish father’s mistakes lead another path for Tuigi. 

Tuigi’s (Ophelia Klenam Dzidzornu) happiness comes in the form of learning with Micha (Jay Ellis). DP Pete Villani.

Many uncomfortable moments arise including powerless Tuigi’s mother unable to help her daughter be spared endless inflicted excruciations. Scenes become far too painful to watch as viewers are subjected to blood spillage over and over. Tuigi is battling a war that she cannot win. Blood is the glaring reality for women/girls— shown in three acts. First, the menstrual cycle— a feminine right of passage, a quiet, unnoticeable naturalness that Tuigi doesn’t even realize. Then blood comes from what is done to Tuigi— both acts violent and painful. The forceful violence of circumcision (without anesthesia) is a whole guttural mess. Once Tuigi is sentenced to ten years in the shrine (a place that sacrificed girls are held captive and must endure a nasty old libertine), she is raped at too young an age. 

Tuigi doesn’t deserve this penance. No girl does. 

Micha (Jay Ellis) and Sarah (Yvonne Okoro). DP Pete Villani.

In the beginning, a reluctant, defeated Sarah was hesitant to join Micha’s mission to save Tuigi from her unfair fate. A fellow schoolteacher who is obviously attracted to Micha, Sarah questions authority and goes immediately to school head Father Baani for aide, blasting the system for raping young girls. 

“How you know? Were you there?”

The unsettling question comes from the lips of most nonbelievers— primarily men. Yet it is a shocking surprise from Father Baani. Only a full grown man would imagine a fourteen-year-old prisoner willingly inviting sex with a monster whose targets are as premature as eight-years-old. That’s the world in a nutshell; the unchallenged allowance of men getting away with their pedophilia and violence and muttering these “asking for it” and “where’s the proof” logistics as though victims have recording cameras at ready. It’s Bill Cosby, Anthony Anderson, Nate Parker, the church, and a host of alleged others in a long list of celebrated men who should be held accountable for mistreating women. Patriarchal structures are as globally wide as the consequences of colonialism. To begin loosening this tight knot means addressing the problem within. 

Micah and Sarah’s crusade gains additional help from a white lady named Jean. Years ago, Jean had been unsuccessful in her efforts to prevent a girl from receiving a “shrine sentence” as well. Meanwhile, Sarah during her time teaching, has lost three girls. 

Tuigi, Micha, and Sarah— a beautiful makeshift family. DP Pete Villani.

Before and during her sentence, education is important to a bright, intelligent Tuigi. She quickly picks up on Micha’s lessons and takes to secret studies out of the shrine’s watchful eye. It is her only solace; learning new ideas, pleased to receive positive remarks from the encouraging Micha. When exams come around, Tuigi’s community pulls in to ensure she can take them. Sadness is an overwhelming here— due to wishing that these people had earlier come together to protect all girls from their family’s crimes. While they’re avidly campaigning for Tuigi, her parents are no where in sight. 

Sarah (Yvonne Okoro) celebrating their small yet sentimental victory. DP Pete Villani. 

Leila Djansi’s heavy screenplay reveals a Ghana still letting religion conquer over its people, endangering mostly girls and women wrongly subjected to carrying out a family sentence. Ophelia Klenam Dzidzornu’s multifaceted performance as Tuigi puts in a brave face and delivers a smile to her friend and teacher, reflecting that though her conditions are dire, her education brings her the most joy and pleasure. Truly hopeful that she can have a successful career in a system where only Black British and white imports have outstanding global successes. As for Insecure’s Jay Ellis as Micha, he played the role decently. There’s promise that he can become a stronger actor if more complex roles like Micah are led his way. 

A few cons: indecent that Micah and Sarah have sex immediately after Tuigi is taken away. By the end, very unclear if they’re just friends or became more than colleagues. Also, Micha asking Tuigi, “are you pregnant?” was cringy. This line could have been either more carefully considered (after all Tuigi is a young victim) or not been vocally spoken at all. 

Still, Like Cotton Twines deserves the honors bestowed for telling a brutal narrative interlaced with hope and joy. Leila Djansi is definitely a filmmaker worth notice. 

Tuigi’s daughter grows up to become a ballerina. DP Pete Villani.

Like Cotton Twines leaves us with hope through the tears; hope for our dreams to come true if not through us, but by those who come next.