As a seasoned film critic with over three decades spent traversing the cinematic landscapes of the world, I’ve seen my fair share of films that aim to make a social impact. Some succeed in weaving their message seamlessly into an engaging narrative, while others fall short in their execution. “Nawi,” unfortunately, falls squarely into the latter category.
When viewing “Nawi,” it swiftly becomes apparent that two key aspects stand out. Initially, an exceptional leading role drives the narrative. Michelle Lemuya Ikeny portrays the title character, a 13-year-old longing for high school but confronted by the patriarchal norms of her community, who faces being forced into marriage for a significant livestock dowry instead. Secondly, the team behind the camera, consisting of Toby Schmutzler, Kevin Schmutzler, Vallentine Chelluget, and Apuu Mourine, seems determined to convey a powerful message about child marriage. Their dedication to this political statement unfortunately overshadows the film’s cinematic appeal and entertainment value. Consequently, the four co-directors neglect to provide their lead actress with the stage she needs to shine in accordance with her strong performance.
Hailing from Kenya, the film “Nawi” is set in the remote Turkana region of the nation’s north, where it unfolds based on real-life events. Our story revolves around its determined and intelligent main character who excels in high school entrance exams. As she basks in the praise of her teacher and peers, as well as an interview with a television news crew about her academic success, her father, Eree (played by Ochungo Benson), concocts a plan to arrange her marriage to an older man.
Due to being the sole female member of her family, it’s her responsibility to arrange a marriage that will provide them with the necessary funds for survival, which means she must make significant sacrifices. In her diary entries, we learn that this requires 60 sheep, eight camels, and 100 goats – an exact number that leaves no room for negotiation.
Prior to the wedding, the movie delves into Nawi’s traditional family structure, which includes intricate relationships among its members. As the household leader, Eree has two wives: Ekai (Nungo Marrianne Akinyi) and Rosemary (Michelle Chebet Tiren). Nawi is Rosemary’s child, born as her second and younger wife. The initial scenes establish a sense of family drama and tension. Both women believe that Nawi’s role should be as a wife and mother, reflecting their strong adherence to their community’s customs.
Ekai is straightforward and practical in his approach, whereas Rosemary attempts to soften the situation and persuade Nawi to focus on the positive aspects, hoping that she too might raise a clever daughter like herself. The portrayal of their mother-daughter relationship is heartwarming, and the actors convincingly display a deep affection that explains why Nawi grew up with courage and elegance – she was surrounded by love and encouragement. Furthermore, Nawi shares a touching and humorous bond with her brother Joel (Joel Liwan), despite their different mothers.
Throughout this production, Ikeny delivers a powerful performance that ties the film together with remarkable emotional depth. The directors opted to focus on numerous scenes through her face, providing ample close-ups that capture her responses to the evolving events. Ikeny is consistently engaging and skillfully expresses her character’s feelings without uttering a word. For an actor so young, she effortlessly achieves what some actors strive for their entire careers: command the screen and significantly enhance the artistic value of the film.
Despite the screenplay’s declining creativity, resorting to overt melodrama, it is Ikeny who keeps “Nawi” compelling to watch. Her character undergoes a series of hardships: she flees, attempts hitchhiking towards Nairobi, takes on the role of mentor and educator for a group of boys her age, and faces numerous crucial choices. Throughout this lengthy odyssey, Ikeny portrays Nawi as brave yet defiant, scared but lost all at once. Both character and actress grow and display remarkable resilience and determination on screen.
Despite Ikeny’s strong performance, the film ultimately fails to hold up due to its rushed ending. Initially, it showcased character development, but towards the end, it transforms into a predictable public service announcement (PSA). Unfortunately, the artistic value and believability of the film diminish as it forcefully attempts to convey the message against child marriage. While this is a pressing issue that demands attention and amplification, an overt approach may not be the most effective way to address it on screen.
Instead of employing exaggerated methods like having actors speak directly to the camera and thereby losing focus on their primary character and narrative, the filmmakers seem to veer off course. Despite initially partnering with numerous NGOs to narrate a compelling tale, the final product unfortunately transforms into little more than an instructional resource – something that might just as easily have originated from one of these humanitarian organizations.
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2024-12-07 22:47