Rafiki

Rafiki is the first Kenyan movie to feature a love story between two women. Because of this, it was banned in its home country where homosexuality is illegal. As such, its very existence is exceptional. However, I do not want this review to come off as though I am making exceptions for Rafiki’s quality because of its difficult and singular origin. If you look at the movie without regarding its importance to African and Kenyan LGBT representation and status as a brave trailblazer, you’re still left with a strong and enjoyable movie.

Rafiki follows the budding love story between two girls, Kena and Ziki. Kena and Ziki’s fathers are running against each other in a local election. Because these characters needed one more reason why their love story was unlikely, I guess. Kena and Ziki always have to hide their relationship away. However, it is initially able to flourish beautifully in private places and moments where Kena and Ziki can be themselves, unafraid. Unfortunately, members of the local community and the girl’s parents find out. Kena and Ziki then have to face the repercussions of pursuing their love in such a homophobic place.

It is the directing and cinematography that is Rafiki’s strongest point. I don’t think if one were to just read the script, this story would jump off the page and demand attention. However, Wanuri Kahui’s directing brings this story to life. There is such vibrancy in Rafiki. The movie was produced by a production company named Afrobubblegum. Afrobubblegum is a good way to describe the first two acts of the movie when Kena and Ziki’s love story flourishes in a colourful, vibrant, joyful setting.

It is not just the happy, “bubblegum” aspect where Kahui succeeds, though. The third act takes quite a dramatic turn once Kena and Ziki’s relationship is found out. The scenes here pack a serious, emotional punch. The scene where Kena and Ziki are first found by a mob of angry people is genuinely terrifying. In this 90 minute movie, Kahui has shown herself a capable director of light-hearted romance as well as serious drama.

Lead actresses Samantha Mugatsia and Sheila Munyiva deserve major commendation as well. It is not “brave” anymore for actors in Western countries to play LGBTQ+ characters. It is for Mugatsia and Munyiva. Their debut film role is in a movie that’s literally illegal with them playing the characters who make the film such. Mugatsia and Munyiva give natural, fearless performances. Their chemistry is fantastic.

One of the most exceptional things about Rafiki is how much hope there is in it. That even after the difficult third act it ends on an image of hope for these girls’ future is absolutely exceptional. That Rafiki in general told a story about an illegal love story in a homophobic country and chose to make it primarily a joyful movie is remarkable. Probably the easiest way to tell this story would have been tragedy. There is such audacity and boldness of Kahui choosing to tell a story of joy and hope. I am so grateful she did chose to do this.

Rafiki is a movie that deserves your support. I have been unable to find many African WLW movies so that alone makes Rafiki a standout. Beyond all of this though, Rafiki is just an enjoyable movie. It is beautiful, joyful and full of heart. If I had one critique it’s that the ADR was off. There’s a few scenes where you hear dialogue from Kena and Ziki but the camera shows that their mouths aren’t moving. But what? I’m going to get after Kenya’s first lesbian movie for such a paltry complaint? Honestly. What sort of asshole would even bring up such a pedantic complaint as a way to end a review?

Overall rating: 8.6/10

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