'Ayiti Mon Amour' Shares Triumphant & Whimsical Tales in Haiti

Ayiti Mon Amour.

Back in 2010, on a January afternoon, Haiti was hit by a ferocious earthquake, killing thousands. Global relief efforts, meant to bring aide to devastated families, were stolen and squandered, leaving the very poor, destitute and hopeless. Filmmaker Guetty Felin created Broken Stones, a documentary about the terror and turmoil left behind, showcasing great devastation brought onto a country that lost many irreplaceable lives and homes. In Ayiti Mon Amour, Felin pens and directs an imaginative collection of poignant fables that offer healing and joy after the storm.

 Orphée (Joakim Cohen) and his mother (Pascale Faublas) have trouble adjusting to the neighborhood due to colorism. 

Set five years later, Orphée is a troubled young boy often fighting at school. However, that doesn't deter unique sensibility, the supernatural elements. He is fascinating, speaking between Japanese, French, and English, playing with his friendly black dog, always pensive, brooding. His mother is worried, rightly so, for he isolates himself from others, but looks at them with fierce longing. He is dreamy eyed and thoughtful, wandering through broken parts of Haiti, still grieving a father who had died in the earthquake.

Anisia Uzeyman (The Muse) is an inspiration for a troubled writer (James Noel). 

Originally tied down to a writer’s block afflicted writer, an energetic, cheery muse hollers like a wild banshee into his tormented mind. The stylish, slender beauty is bubbling with anticipation, almost rupturing to the surface. She demands him to give her tasks, let her live more than as a silent figure. The tired, frustrated man cannot think with petulant eagerness, natural inclination to roam beyond what is permissible, but stoically promises to present ideas despite ever present fatigued mood. Days pass by, he has no story for her. Unable to wait, she packs up her little suitcase, and leaves him. Her adventurous thirst is tasted as she explores areas of dilapidated buildings and broken spirits, rides boats floating in endless sea, and joins in a parade.

Jaurès the fisherman (Jaurès Andris) shares smiles and dances with his beautiful wife.

Jaurès is concerned about his wife in a poignant love story that entails not just surviving violent storms and , but coming to terms with growing old and finding ways to stay in love. One devout way is caring for the other when that person is ill. As this sweet fisherman feeds her, gently spooning bowls of soft mushiness into her reluctant mouth, she turns her head in between, not able to eat entire serving. She is listless, worn, despaired. Her illness is more than physical, emotional and mental anxiety exists within. He is committed to healing her and searches for remedy in his personal realm/haven.

Although the solitary writer doesn't interact, it is the muse who brings needed delight into Orphée's solitary darkness. She and Jaurès both offer him a reason to feel grateful.

An official 2016 TIFF selection and winner of Black Film Festival’s Best Narrative Feature, Guetty Felin’s Ayiti Mon Amour is the first Haitian film to be directed by a Haitian woman. That significant feat is an encouraging path to follow, especially to young girls hoping to capture homeland through their own eyes. A fiction with incredible heart and nostalgic wealth, Felin filmed specifically in a region affected by the earthquake, going into village areas, using locals as actors, knowing dates imperative to her written script. The sewing of the forgotten weaves well into the picture, each scene casts spells on audience, bedazzling with quixotic images frozen in a lingering time. It is also wonderful that Mira Nair (Queen of Katwe and Mississippi Masala) produced-- great to see women of color directors celebrating other women of color directors. This must continue onward.

Director/writer Guetty Felin with her real life son, Joakim Cohen.

Ayiti Mon Amour ends the way it begins. A single finger slowly traces uneven line of a crack, carefully following each jagged mark. This deliberate action seems to metaphorically describe lineage of life and death, the impossible circumstances impact future, bring unexpected change and growth. In these layered stories, a connection forms between characters, real or imagined, in a peaceful, integral sea as serene as mesmerizing blue waters captured in most breathtaking cinematography. Felin is reminding us of Haiti. Underneath memories of a colossal tragedy, of ashes and ghosts of the dead, births new images entailing magic and hope.

Haiti is not a graveyard. It is a real, majestic home unlike any place on earth.

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.