‘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. 

Disney Takes a Giant Leap of Faith With "Queen of Katwe"

Queen of Katwe film poster has that The Lion King vibe.

 "This just isn't a game, it is a way out."

Queen of Katwe paints marvelous touches on desires to become bigger than improbable circumstances. On the canvas, set in Uganda, Phiona Mutesi, a young, intelligent Ugandan girl selling maize alongside her little brother to make desperate ends meet, leads this engaging biopic. Uniquely enough, showcasing continent from within, hardships and strife hold hands with love and joy, rarely seen in an African based film.

Nakku (Lupita Nyong'o) and her daughter Phiona (Madina Nalwanga).

After her brother speaks of Robert Katende, an educated happily married man, showing village children something new and exciting at the community center, Phiona comes along, immediately curious and drawn to activity of chess. She quickly picks up the challenging game, emerging from beginner to novice quite fast.  Her low-spirited shyness dissolves as building confidence takes place. Of course, Phiona's mother, Nakku is against anything that isn't helping keep a roof above their heads. Night, Nakku's other daughter, fancies moneyed boys and an "easy" way out of impoverished slums whereas always-doing-right Phiona is Nakku's most reliable girl. Chess becomes the vehicle driving emotional threads to Phiona and Nakku's close relationship, threatening to divide a mother's need for stagnant consistency and a daughter's newfound commitment to better her situation.

Robert (David Oyelowo) is impressed with Phiona's (Madina Nalwanga) skills and pushes her to continue playing.

On quest to become a Chess Master, Phiona falls into arrogant behavior.
It is understandable.
Phiona hails from a predicament where women aren't to have dreams beyond finding a financially sound man. The situation is worse still. Night's ups and downs consist of receiving monies, fine clothes, and accessories as well as being systematically dumped several times. It isn't the life Phiona wants.
Moments in which Phiona is strongly defiant, wanting to compete in every chess competition she can, are intensely moving. Sure the audience is expected to believe that she is getting carried away with her forceful motivation. Yet implanted hope grows regardless.
Phiona is deserving-- deserving of every good prospect sliding in her direction.

Nakku (Lupita Nyong'o) parting Phiona's (Madina Nalwanga) hair.

Queen of Katwe, a Disney production, celebrates not just Phiona's chess victories. This bold, powerful tale, breaking a tradition of European beauty standards and exclusive fairy tale caricatures, is a testament to young black girls that they can be anything they want to be. They don't have to desire waist length hair, light skin and light eyes, or a romance. They can be their perfect individualized selves without any alteration caused by inherent brainwashing. They can be their own Phiona-- short cropped hair, dashiki fabric, and luminous ebony skin product of pure Africa-- desiring to play chess at highest level possible.
That is an astounding accomplishment.
The "unconventional" can become the normality.

Phiona the champ with one of her guiding lights, Robert (David Oyelowo).

Another solid plus, which is usually typical Hollywood tactic, is that no white saviors assertively present themselves. Mira Nair utilizes African resources to best of knowledgeable ability. From the Katwe slums to the big city, the largely black cast has no need for outsiders. Moreover, Phiona is her own hero. Sure Robert paved the way, shared a gift with Phiona, but her intelligent mind is hers alone.

"Are you my daughter?" Nakku asks. "Yes, I am," Phiona declares.

Queen of Katwe may have a few cases of formulaic principles to amp up drama.
However, that doesn't break away from a triumphant story that will inspire female equations worldwide. Phiona, an unlikely heroine, overcomes humungous odds by besting both boys and girls, with a beaming, wide smile and tender grace. With aide of valiant Robert and once reluctant-turned proud Nakku, Phiona cannot lose. 

Director Mira Nair and Lupita are all smiles in a filming location.

Nair has performed a gracious act by taking on a narrative set in Africa.
With witty charm, comedic chops, and heartfelt sincerity, David Oyelowo is exceptional as a man who sees and honors the potential he sees in lower class pupils. Lupita Nyong'o portrays Nakku with remarkable three-dimensional tenacity. From angrily snatching her children away from Robert to making ultimate sacrifices for Phiona's happiness to utter distraught at Phiona's temporary heartbreaking decision, Nyong'o displays an incredible range of skillful performance. Awards season should knock on her door next year. As for newcomer Madina Nalwanga, she was a standout as the leading focal point. She showed extreme depth, rendering Phiona's passion, strength, and will. This may be the start of an excellent road ahead for this mesmerizing young actress.

"Are we still going to be Americanah's Ifemulu and Obinze?" Yes. Please. Lupita and David have a beautiful vibe together. Let's hope they make a few more films with each other, especially a certain treasure based on Chimamanda Adichie Ngozi's thought-provoking novel. Is it too much to want Mira Nair or another amazing filmmaker woman of color to direct them again?

Queen of Katwe is worth viewing over and over. The acting, direction, music, and cinematography is an overall celebration of the beauty of Africa and its humbled yet passionately determined people. We all know a Phiona Mutesi-- whether resting dormant inside of us or visibly depicted in another.
Also must recommend staying after film is over for poignant rolling end credits and this special music video directed by Nair with surprising cameos. Such a splendid treat all around!
Let's hope that more authentic stories based in Africa receive the Hollywood greenlight.

"Southside With You" Tells of An Epic 'First Date' And Defines True Relationship Goals

Southside With You film poster.

Even if one didn't know the iconic names Barack Obama or Michelle Robinson (Obama), this wonderfully depicted story of their first "date" is a treasure for romantic enthusiasts worldwide. It has the solid makings for a sweetly authentic biopic. Man knows woman, woman knows man, but can they work together? Of course!
Honest charm and affectionate promise lace between superb dialogue and raw acting as Barack and Michelle discuss racism, feminism politics, activism, and the best of Stevie Wonder.

Michelle (Tika Sumpter) and Barack (Parker Sawyers) share their dreams.

Southside With You begins with Michelle preparing for a community meeting with Barack-- who slyly has plans of his own. Pumping out Janet Jackson, in an old car nearly falling apart, our little master manipulator pulls up to the Robinson home, with old-fashioned Southern hospitality and an effortless swagger. Michelle sees not only severely damaged vehicle, but hidden cigarettes. Her disdain is plain as day. It's the delightful albeit humorous start to several spars and hotheaded differences, a note on two determined individuals who often clash.
And their willful passionate natures is a well-rendered treat.   
At a visit to the art museum, the-not-yet-a-couple find themselves enthralled in urbanism meets Modigliani styled artworks of Ernie Barnes-- elongated black figures, moving, modestly dressed bodies, and bright, vivid colors. These two prominent entities, walking through genre paintings and sculptures of African Diaspora, discussing and analyzing what they see is one of the definite highlights. Their talks are real, honest.
Then it goes downhill with misconceptions and assumptions.
But there's nothing humble pie and chocolate ice cream can't handle.

Barack (Parker Sawyers) and Michelle (Tika Sumpter) against the world.

Tika Sumpter, who is likely to be considered for an Independent Spirit Award (and more) has come a long way since playing Layla Williamson (on-screen younger sister of recent Tony winning Renee Elise Goldsberry's Evangeline on One Life to Live). She's held her own in Sparkle and Queen Latifah's Bessie. However, Southside With You, grants audiences a taste of what an exceptional leading lady Sumpter can be. She has a refreshing screen presence that is dying to continue showcasing tremendous depth and incredible range. With beneficial aide of a dialect coach, Sumpter easily slips into the intelligent, sophisticated role of Michelle Obama, her poised body language (especially Michelle's infamous arched brow) and sharp vernacular right on par. She truly embodied black woman feminism when delivering lines on the struggles of being not just a woman, but a black woman climbing high in a white patriarchal profession.
Newcomer Parker Sawyers was a befitting choice as the young, chain-smoking president-to-be. Utterly charming, silkily smooth, and with Barack's authoritative voice to match, Sawyers was the definite answer to a challenging casting call. First of all, he mesmerizes as a powerful, compassionate orator (one of Barack's finest talents), secondly, shines as a smitten man instilled in the art of wooing (but not in a way that is creepy or  caveman), and lastly, flawed humanism of Barack's shortcomings.   

Barack takes Michelle to see Spike Lee's riveting Do The Right Thing. The direction is awkward, almost clumsy way of getting both Lee's famous work and reactions of the future President and First Lady in cinematic frames.

Their chemistry is an enduring chess match. By day's end, the inner cheerleader roots for the man to win the woman. They're evenly matched-- a winning combination.
Although Southside With You isn't a flawless masterpiece, it is a nice, irresistible treat to nibble on. Whereas most black films feature woman being named ugly names under the sun by cruel, ignorant men or women desperately pandering to masculine appeal, Richard Tanne's first directional/screenplay writing effort dismantles stereotypes and pigeonholes. Barack is a complete gentleman, very attentive, respectful, and protective of Michelle. He is a chivalrous, smart man in early throes of awe. In the meantime, Michelle, guarded, resilient, and tough, slowly starts to fall under the crackling spell of a future commander-in-chief, without losing her dignity and grace. Her dark skinned black beauty, not waxed on poetically, is something witnessed in the way she articulates a word, casts a glance, shifts her body.  And viewers are left astounded by Barack's fascinating testimony.
Southside With You is a film that will stay in heart and mind, retain a certain kind of rustic spirit, that lingers long after John Legend's song and Ernie Barnes paintings disappear from the screen.