'Rafiki' Defies LGBTQIA Odds in Fiction and Reality

Rafiki film poster.

Rafiki is a modern forbidden love story told in a strict political society condoning unions between same sex couples. The heinous parable is introduced through a silent male figure. He is constantly abused by other men-- verbally and physically assaulted for existing as gay, illustrating also etched in miscontrued religious context. His story, seemingly small, is a significant integration into the lives of main characters, Zika and Kena.

Zika (Sheila Munyiva) has dreams of being a nurse, but it's Kena pushes her to become more.

Zika and Kena's fathers are running for the same political post. Zika works in her father's store and hangs out with womanizing Blackstar and his posse-- the bullies who abuse the gay man. Outgoing, carefree Kena is always out with two lively girls dancing and jiving, entirely girlish. Her big smiles and pastel rainbow hair seem an anomaly in their environment. Zika often watches Kena, intrigued yet shy.

Zika and Kena come together in a refreshing, natural way. Their mesmerizing camaraderie sewn eloquently-- an abandoned van for clandestine trysts, raw, unconfined joy at the carnival, glowing together at a nightclub.

Once the fallout happens, the families reactions are both expected and surprising. Yet the community's reaction is ugly and horrific.

Sheila Munyiva and Samantha Mutgatsia are dynamite partners portraying Zika and Kena. Their chemistry blooms beautifully from tentative stares to an affectionate friendship to passionate kisses. The actresses resonate a genuine tenderness for these characters and for each other, articulating vulnerabilities and demanding strengths. It is also a plus that Munyiva and Mutgatsia have distinctive skin tones and features lacking in black films. The camera poignantly focuses on Munyiva's eyes and lips and Mutgatsia's hair and smile with deliberate celebration and pride.

Kena (Samantha Mutgatsia) and Zika (Sheila Munyiva) have the most fun together. 

Other wonderful highlights include a great soundtrack (the opening sequence plays high colored credits while Muthoni Drummer Queen's Suzi Noma pumps in the background), cinematography has amazing shots of Kenya city life (and chapiti), and African print cloth duelly operating as fashion and home decor. Every stitch of the film comes together to deliver a special experience.

The church is no taboo to show love for Kena (Samantha Mutgatsia, right), but Zika (Sheila Munyiva, left) isn't ready.

Africa Academy Award winner (for From a Whisper) Wanuri Kahiu overcame a huge battle in obtaining Rafiki's rightful consideration for representing Kenya in the tight Oscar category Best Foreign Language Film. Kenya retains outdated opposition on same sex relationships and allowed government interference in this colossal case against Kahiu.

Activist art is imperative across the globe. Kenyan Wangechi Mutu, whose has a framed collage featured, creates pieces centering Afrofuturism and earth and runs Africa Now!-- an organization advocating for the continent's LGBTIA communities. South African Zanele Muholi and her team document harmed lesbians, telling their stories inside endless galleries and institutions. Meanwhile, Kahiu's great cinematic achievement expresses hostile turmoil, aggravated battery, and cruel separation in communities collectively despising and interfering on a love that does not look like their program.

The goddesses of Cannes: Sheila Munyiva (Zika), Rafiki writer/director Wanuri Kahiu, and Samantha Mutgatsia (Kena).

Rafiki is a gentle outstretched hand. On the fine, delicate lines of the palm, rests a beating heart yearning for human decency, acceptance, and respect. The viewer has no choice but to succumb to Zika and Kena's everlasting love. Forced bigoted trials and tribulations are no match against the strongest, most sacred emotions. No time or distance (or government interference) can defeat such an important narrative.

Revisiting 'Pariah,' A Must See That Transcends Time

Pariah film poster.

Still, some years later, I find myself returning to something amazingly profound, a work that comes back, hugging close like an old friend.

Pariah is an astounding, vibrant piece of finely weaved storytelling with thoughtfully spoken artistry. This independent film centers on Brooklyn high school teen, Alike (pronounced ah-lik-e) an exceptionally good student and aspiring poet from a hard working middle class family. In her underground world, the shy girl hangs out with bold, outspoken, Laura, who has already proudly come out and lives with her sister.

Alike, however, is much too afraid of such honesty and chooses to entrap herself with dual identities- switching from hood gear to chic fashion, she is trying to do right by parents, Arthur and Audrey, but it's her little sister, Sharonda that begins suspecting the truth first.

Laura (Pernell Walker) and Alike (Adepero Oduye) test out a certain kind of package.

Filled with hilarity, wit, and compassion, viewers follow Alike’s course of adolescence as she tries unsuccessfully talking to women, tests out her first strap on with Laurie’s aide, writes poetry in a colorful composition notebook, and privately shares her talents with the encouraging English teacher.

All the while Audrey is desperate to make Alike appear more feminine and attractive to boys and wishing Alike to stop hanging around Laura, someone she clearly detests. Yet Arthur turns a blind eye, seeming not to give a care about his overbearing wife’s feelings and accepts Alike "flaws" and all.

Mother and daughter Aubrey (Kim Wayans) and Alike (Adepero Oduye) don't see eye to eye.

Fed up with Laura, an interfering Audrey wants Alike to be friends with "normal" girl, Bina. But unbeknownst to Audrey, Bina shows the kind of interest in Alike that would have had her head spinning. A smart, intelligent, and worldly artistic individual, she shares a lot of compelling ideas and music with Alike, striking up a friendship that soon blossoms into a refreshing first love.

Spending time at clubs and critiquing each others writings, things were so blissful.

However, her immediate discarding of their relationship the morning after was quite detrimental and heartbreaking.

Alike breaks down, guttural and hurt by the strange 180, but sadly has no one to tell and transforms that anguish into poetry.

Bina (Aasha Davis) shows Alike (Adepero Oduye) mixed signals.

Once Alike finally confesses to her parents, hell breaks loose tenfold.

In the very turbulent scene, Sharonda pleas with Alike not to get in between the battle of their parents who are loudly arguing about her sexual orientation, but valiant Alike bravely wages on and puts up with an emotionally distressed Audrey who then verbally attacks and violently beats her revulsion into Alike.

After that climatic horror, things change.

With a condoning mother seeing lesbianism as a treacherous disease deemed unlovable, Arthur is the exact opposite. A man harboring his own secrets, he seemed to have always known that Alike was a unique case. Not due to her escalating intelligence and her disdain for pretty clothing. Their relationship is much closer and because of this, it makes his understanding of Alike’s lifestyle believable.

In Laura’s own story, she also has a mother disgusted by her choices. Looking disgusted, she makes no move to be affectionate and slams the door in Laura’s face even as Laura expresses joy over passing the GED. This makes her friendship to Alike all the more genuine. Their mothers' intolerance for their lifestyle is another common factor.

Though she is an active flirt and very popular with the ladies, it’s perfectly clear that Laurie needs constant companionship and love and once she sees Alike having fun with Bina, her jealousy comes clawing out. 

A worthy note of mention, Dee Rees has done an exceptional job of not only showcasing strong female relationships, but also revealing the blunt shift that occurs when weakened and severed, especially the natural bond of a mother and daughter.

Alike (Adepero Oduye) knows the world is her oyster.

Adepero Oduye’s portrayal is touching, riveting, and beautiful as she plays a character struggling with the great divide, breaks free from timidity, and falls in love. Breathing sophisticated complexion into Alike, Oduye is divine poetry in motion, expelling words articulately and with tenderly, perfected bravado. From the moment she tearfully tells her mother she loves her and that end scene on the bus, Oduye showcases Alike’s proud acceptance into a promising future that only she can control.

Now this is the kind of African American role that the Academy is deadest against honoring. A woman who doesn’t allow herself to repressed by negativity and has the strength to move forward to better opportunities with talent driving her. To the conservative viewer- it’s crucial. Not only is this young African American woman smart and gifted, she happens to be gay.

Definitely robbed of an Oscar nod, here's hoping that Oduye nabs another pivotal role that garners attention from the snubbing Hollywood elite.

The rest of the cast played their parts commendably, especially the incredible Kim Wayans, a famed comedian utterly unrecognizable in a very dramatic role. The polar opposite of Monique's character in Precious, Wayans was marvelous as the cruelly ashamed, Bible clinging mother.

In terms of story holes, Pariah does have its little flaws.

Alike delivers two powerful poems like a heavenly prophet. Thirsting for more, especially with Bina making suggestions to open mic nights and poetry clubs, there was an expectancy to seeing Alike come further out of her shell and share her gifts to an audience that actually wants to hear fresh talent onstage.

Alas no such scenes came into play.

What of Laura and Alike's relationship?

Do they come together as a couple and bond even further?

What secrets was Arthur keeping under tabs?

A scene of him on the phone and then changing into a silk black shirt while chatting to Alike seemed oddly questionable. With them being so close, one imagined that he would voice his affair to Alike.

Now if it were with another man, Audrey would never be the same...

Pariah's writer/director Dee Rees with stars Kim Wayans and Adepero Oduye.

I greatly appreciate the woman’s voice and their courage to tell such a profound story. Hoping that Dee Rees continues on the path of enlightening women and minorities to come forth and share their creative vision, bring their enriching narratives to independent screens and beyond. Let the age old statistics of white men being sole judge and victor be a thing of the past.

It's been high time for segregation in the film honor system to be buried. 

Women have more than breasts to bare, they have vocal hearts and fervent souls to unleash and set free.

Pariah passionately illustrates that though the uncertain future can be filled with failures, heartbreak, and disappointments, there are rewards despite the ugly, gritty turmoil that comes and goes.

That wherein lies life's bittersweet poetry.

*This post, although edited, first appeared here and was cross posted here.