AV Club: Everything about the drama-filled “Joy” is riveting and harrowing
An unflinching, empathetic look at the joyless nature of sex trafficking
(“Joy” was Austria’s entry for the Best International Film at the recent Oscars, but it was disqualified by the academy due to the bulk of its dialogue being in English. The film is currently streaming on Netflix.)
The first thing that welcomes viewers into ‘Joy’ is a ritual scene. Set somewhere in Edo state, a traditional priest performs the rites for an oath ceremony, wherein a young lady pledges to abide by certain rules and regulations regarding her emigration. Guided by the priest who makes sure she understands the terms, the lady surrenders her freedom until she’s able to pay her debts to the patron responsible for making her move to Europe a possibility.
The lady and the priest, both unnamed characters, do not surface for the rest of the film, but they play a pivotal role in easing viewers into the gut-wrenching story-line, especially for those who are unfamiliar with the elaborate and disturbing nature of sex trafficking in Nigeria. For the rest of the film, viewers are offered an look into the way young women deal with being exploited into becoming sex workers, many of whom accept this way of life in order to assist their impoverished families.
“Joy” is centred around two characters, Joy and Precious. The titular character is an older lady who has been a serf to her madame for a few years, while Precious is a young girl —around age 13 if I were to take a guess— who had only just migrated from Nigeria and was struggling to adapt to her new, unwanted life. For the first five minutes both characters appear on screen, their only vocal interaction is when Joy commands Precious to stand up while they are on the roadside looking for customers. This early parts frames their relationship as experienced colleague and understudy—which it is—but as the film goes on, their bond deepens to reflect a rarely spoken but very visible care for each other.
Of course, a film with sex trafficking as its central theme is already harrowing, however, “Joy” sometimes pushes the envelope to point blank heart-breaking. In the closing scene of the first act, Precious is raped at the command of the madame, after complaining about the nature of what she’s been asked to do. While the abhorrent act isn’t pictured on camera, its importance to the unflinching story is driven home by Precious’ anguish-driven cries, Joy’s uneasy reactions, the nondescript look on the faces of the other sex workers, and the satisfaction on the madame’s face. As the film goes on, we see the effect of Precious’ shattered innocence on both main characters and their drive to survive and escape.
Accompanied by great cinematography, the film’s knack for saying as much with words as it says without, makes it riveting. It is by no means an easy watch, but this superb use of negative space suits the film’s character-driven trajectory, relying on the main cast to shine in their respective roles—which they do. Channelling pain and frustration in equal measure, Anwulika Alphonsus plays the role of Joy in a captivating manner, while Mariam Sanusi’s childlike innocence and subsequent bubbliness is effective in the endearing portrayal of Precious. The fringe cast with multiple scenes also pull their weight: Angela Ekeleme’s Madame is often ruthless and sometimes patronising, and Christian Ludwig does a superb job as the well-meaning but clueless Christian.
Austrian-Iranian filmmaker, Sudabeh Mortezai is the brain and hands behind “Joy”, and she does a great job of keeping the film from veering into overly sentimental. Her writing and direction work plays up the contrast of women with little to no power but have been saddled with enormous responsibilities. In this approach, “Joy” brings a joyless reality into an empathetic light, and many of us get to understand a reality we haven’t—and hopefully, never will—come in contact with.
Featured Image Credits: YouTube/Filmladen Filmverleih
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ICYMI: “CRAZY, LOVELY, COOL” IS A MIXED PORTRAYAL OF THE NIGERIAN UNIVERSITY EXPERIENCE
Fanti Carnival Returns to Lagos This Easter with a Vibrant Celebration of Afro-Brazilian Culture
The historic Fanti Carnival is set to make its grand return on Easter Sunday, April 20, 2025, bringing the...
The historic Fanti Carnival is set to make its grand return on Easter Sunday, April 20, 2025, bringing the streets of Lagos Island alive with colour, music, and culture. With roots dating back to 1890, the Lagos Fanti Carnival is one of Nigeria’s oldest and most vibrant cultural traditions, celebrating the deep ties between Nigeria and Brazil through a dynamic fusion of Afro-Brazilian heritage and modern creativity.
This year’s edition is supported by the Lagos State Ministry of Tourism, Arts, and Culture, in partnership with Robert Taylor Media and the Brazilian Descendants Association of Lagos. Together, they aim to honour the legacy of the Afro-Brazilian community in Lagos — descendants of formerly enslaved returnees who shaped the city’s culture, religion, and architecture.
The carnival procession will kick off at 12:00 PM, starting from Old Defence Road and will end at the JK Randle Centre, with accreditation beginning at 10:00 AM. Attendees can expect a stunning showcase of traditional costumes, Afro-Brazilian drumming, dance, and performances from local creatives reinterpreting heritage for a new generation.
Whether you’re drawn to the dazzling pageantry, the live performances, or the chance to connect with a rich cultural history, the Fanti Carnival is an unmissable event this Easter.
Tickets are now available, and more information can be found via the official Fanti Carnival website or their social platforms.
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A celebration of creativity and cultural
Dutch textile brand Vlisco recently unveiled its latest campaign ‘The Garden Of Sisterhood,’ as part of its women’s month celebration. The campaign, which looks to extend Vlisco’s rich legacy in African fashion and its ongoing celebration of creativity and cultural storytelling, takes inspiration from Congolese musical icon Fally Ipupa’s latest single, “Mayanga.” The song’s accompanying music video was shot in the Ivory Coast, and seamlessly balances Ipupa’s signature soulful Rumba music with intricate floral motifs and soft, elegant colour palettes that celebrate the strength and individuality that blossoms through community.
In addition to Fally Ipupa, Vlisco also tapped up Ivorian fashion designer Loza Maléombho and Nigerian director Daniel Obasi to contribute to ‘The Garden Of Sisterhood’ campaign. Maléombho’s unique designs and Obasi’s striking storytelling helped contribute to actualising Vlisco’s distinct aesthetic and vision of merging heritage, creativity and fashion.
In a statement discussing the collaboration with Vlisco, the Congolese superstar described it as a beautiful experience. “They understood my vision of working with talented artists and honouring the beautiful women who wear Vlisco fabrics. By creating exclusive designs for me and the remarkable women in the cast, Vlisco really brought our artistic vision to life, harmoniously fusing music and fashion,” he said.
Similarly, Marlou van Engelen, the creative director of Vlisco, expressed that it was an honour working with Fally Ipupa. “His song ‘MAYANGA’ perfectly reflects our admiration for the women who shaped us, inspire us, and mean so much to us. For us, it’s not just about fashion; it’s about the stories told through our beautiful prints. And I believe the best stories are always told together,” she said in a statement.
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NATIVE PREMIERE: Rigo Kamp Runs Ahead Of The Pack With The Visuals For “Marathon”
Rigo Kamp’s Marathon video is an intimate Afro-juju revival that pays homage to Sir Shina Peters and stamps...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.
Featuring previously released singles “Morning Sun” and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.
Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.
On “Marathon”, the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.
Get an exclusive first look at the video for Marathon here:
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