DOCNYC20 REVIEW: The Letter [2020]

Funda mkota. The subject of married directing duo Maia Lekow and Chris King‘s The Letter isn’t just one piece of correspondence. It’s instead a type that’s been gaining traction more and more in Kenya as younger generations have sought to take land from elders by way of religiously motivated murder. The way they do it is simple: declare the landowner a witch. Create a laundry list of ills, place the blame around the neck of an unsuspecting senior citizen, and threaten them with a violent end by the blade of…

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REVIEW: Rafiki [2018]

We’re going to be something real. Some will dismiss Wanuri Kahiu‘s Rafiki as derivative simply because they refuse to see what makes it so special. They’ll mention its Romeo and Juliet parallel as far as having the children of opposing political candidates fall in love. They’ll compare it to generic love stories—and generic gay love stories—because that’s what it is at its core. And when the subject of prejudice and violence towards these young lovers arises, they won’t shy from deeming it already treaded territory. What such reductive takes ignore,…

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TIFF16 REVIEW: Kati Kati [2017]

“You’re here because you’re dead” Most of cinema’s best films are those that do rather than explain. These works are created by artists wielding airtight concepts insofar as attaining their goal of delivering a specific, emotion-fueled message. Kenyan creative Mbithi Masya‘s feature debut Kati Kati is a perfect example of what can be made when the right resources are supplied to the right people. Tom Tykwer, Marie Stenmann-Tykwer, and their One Fine Day shingle (originally formed to facilitate year-round artistic opportunities for children in Nairobi) helped with the former while…

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