'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.