Review: ‘Black Panther: Wakanda Forever – Music From and Inspired By’
adeptly capturing the movement from grief to celebration
The death of Chadwick Boseman changed everything for Marvel’s ‘Black Panther’ franchise. The first stand-alone film featuring Marvel comic’s royal cum superhero quickly became a seismic cultural event when it arrived in 2018 garnering over $700 million domestic gross and $1.8 million worldwide. Thanks to an inspired screenplay by writer-director Ryan Coogler, the late Chadwick Boseman who had introduced the character earlier in ‘Captain America: Civil War’ stepped into his cinematic purpose. It was clearly, the role Boseman was born to play and everything he’d done in his career led up to that moment. Leaning into the character’s symbolic significance, Boseman turned in a regal performance in tune with just how much the character meant to people around the world, particularly for Black people. It sometimes seemed like an outsize responsibility being T’Challa but Boseman shouldered it with grace.
This year, arriving during the hazy summer days in July, came the stunning teaser for ‘Black Panther: Wakanda Forever’ which soon set the mood for the sophomore film that followed later in November. At the time, heartrending scenes of grieving characters who were part of T’Challa’s circle of trust including Nakia, Queen Ramonda, Shuri, were set to the tune of Tems’ emotive cover of the 1974 Bob Marley and the Wailers classic, “No Woman, No Cry,” as they ostensibly grieved the loss of T’Challa and by extension–their friend and colleague, the late Chadwick Boseman. These sequences in the trailer soon gave way to the defiant refrain of cathartic release promised by Kendrick Lamar’s rallying anthem, “Alright.” For many of us, it was clear from this teaser that music would be crucial to the mourning process in ‘Black Panther: Wakanda Forever,’ just as plays a special role in the burial rites of many African cultures.
According to Ludwig Göransson, the Oscar winning Swedish composer who masterminded the musical architecture of both ‘Black Panther’ films, the plan with its sequel, ‘Black Panther: Wakanda Forever’ was to create a rich, immersive music landscape that visualised the characters experiences as they discovered the underwater world of Talokan, while serving a dual function of paying tribute to Boseman. Speaking about the release, Göransson shared “Thematically, we wanted to move the audience from grief to celebration. When you listen to the soundtrack, you can close your eyes and relive the experience of the movie. That was the intention.”
The new soundtrack follows an epic first album, curated by Kendrick Lamar, for 2018’s ‘Black Panther.’ Featuring artists such as SZA, Travis Scott, and the Weeknd, the album trended at the time of its release, with over eight songs charting on the Billboard Hot 100 just over a week after the film’s release. The first ‘Black Panther’ album also won two Grammy awards–one for the score and the second for Best Rap Performance for “King’s Dead” by Jay Rock, Kendrick Lamar, Future, and James Blake. It’s safe to say that the expectations for the new release were sky high anchored by the record-setting firsts of its predecessor.
Even though the original ‘Black Panther’ was packed with brilliant performances and incredible world building, Boseman remained both the film’s moral leader and soulful epicenter. His character–T’Challa, the noble king of Wakanda, a fictional African nation blessed with endless natural resources–was a new age hero. A dignified, aspirational figure tasked with maintaining the isolationism that had served his country so well, and fulfilling his duty with his Avenger colleagues in world-saving business. However, when Boseman tragically fell ill to colon cancer in 2020 at the age of 43, Coogler and the studio were compelled to reimagine the direction of the franchise. An early decision was made not to recast the character and with this established, Coogler went to work on its sequel while mourning his leading man and close friend.
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The result of this excursion is felt in ‘Black Panther: Wakanda Forever.’ Coogler and his cast and crew pour all of their emotional response, both immediate and delayed, into creating both the film and its soundtrack. The sequel is powered by the themes of grief and mourning as reality and fiction are blended in often uncanny ways that might have been exploitative in other people’s hands but feels cathartic in sensitive, well-intentioned ways when Coogler is the firm hand behind the material.
The film’s plot introduces the new sub-marine kingdom of Talokan and with that, a whole new culture that claims its ancestry from Mexico’s ancient Mayan civilisation. The film’s antagonist, Namor (Tenoch Huerta) and his indigenous underwater nation had suffered the devastating effects of colonialism, being nearly wiped out by germs and guns brought on by Spanish colonialists. In this regard, there is a sense of shared experience with the Wakandans as Coogler seeks to comment on the geopolitics and cultural ties between two would-be marginalised communities.
Working on both the score and the soundtrack projects at the same time, Göransson travelled to Mexico while the film was shooting. In Mexico, Göransson worked with an eclectic crew of established and upcoming artists not to mention music archeologists and historians to unearth the instruments and sounds that would form the sonic scape for Talokan. Some of the earliest result of this deep dive appeared on the 3-track prologue EP that followed the release of the teaser. Fast rising Mexican rapper Santa Fe Clan contributes “Soy,” a hard-hitting rap single.
Themes of trauma and loss are common to both the Wakandans and the Talokans and the music of Wakanda Forever is fully in tune with this. The entrancing “Árboles Bajo El Mar,” recorded by Mexican performers Vivir Quintana and Mare Advertencia Lirika deploys drums, breathing, shakers and lyrics that dwell on rebirthing, to relay a seductive otherworld. “Con La Brisa” is a lilting love song laced with the flirty vocals of singer Foudeqush. While talented vocalist Blue Rojo delivers a show stopping dirge “Inframundo.”
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For the world of Wakanda, thrown into mourning by the loss of their king and protector, Coogler and Göransson seeking authenticity decided to look to the obvious corner, Nigeria. In recent years, contemporary Nigerian pop music has been on a steady incline on the global stage, and Göransson tapped into this swell of activity. After principal photography wrapped, Coogler and Goransson flew to Lagos and connected with the Co-President of NATIVE Records, Seni Saraki, who in turn marshalled a revolving door of big-name talent- Burna Boy, Ckay, Rema- and session musicians to write and record songs that would eventually make up the soundtrack.
Afropop and mourning would instinctively appear to be strange bed fellows. A generous portion of this ascendant music culture is characterised by uptempo tunes that work best as dancefloor prompts prioritizing fast living. But this conclusion would be an incomplete reading of this musical renaissance that goes back at least to the early noughties. The embrace of Afropop has in some way, paralleled the economic downturn that Nigeria has experienced in the last decade. Afrobeats has emerged as a form of respite to these tough times, creating distractions, upliftment and in its own way, documenting the struggles even. A recent example would be a record like Omah Lay’s debut album ‘Boy Alone’ which clearly has a lot more on its mind than just dance- although there is plenty of that. The singer chronicles his struggles with the fame monster crafting catchy tunes about alcoholism, loneliness and depression.
The soundtrack’s lead single “Lift Me Up,” written by Tems- with contributions by Coogler- is notable for marking Rihanna’s return to recording music following a six-year absence spent pursuing other interests. While the new mother was not keen to sign on initially, she was ultimately unable to resist the powerful teaser as well as the themes of motherhood connecting both Wakandan and Talokan worlds. The resultant product is a serviceable ballad peppered with non-committal lines such as, “Burning in a hopeless dream/Hold me when you go to sleep,” anonymous enough to project emotions surrounding Boseman’s demise onto it- or any other emotional experience to be honest.
Working as a more precise reflection of loss within the context of the film is the Burna Boy-performed, P.Priime and Tay Iwar-produced title, “Alone” which soundtracks some of Wakanda Forever’s most palpable emotional beats. “Alone” has some fine colourful writing: “Don’t let them take my head/And dance over my dead—Body, yeah,” Burna Boy wails mid tune as the record builds to a swirling crescendo. Whil evidently solemn and self-reflective, Burna Boy finds space to wink to his audience by including the line, “Mr DJ gbemi trabaye.” In ‘Wakanda Forever,’ “Alone” is preceded by Stormzy’s tone poem which is inserted as an interlude on the album. The British superstar sings and raps about moving through the world alone following the loss of a loved one.
In some African cultures, it is believed that the dead do not exactly leave their loved ones but are on a continuous journey to the afterlife. The Black Panther films have embraced this belief and with the films’ ancestral plane, Coogler has set up a space where living and deceased can communicate. Fireboy’s “Coming Back For You” is a celebration of this life after life, with reliably vague Fireboy lyrics hinting of a kind of omnipresence. This is backed by a melodic chorus and chants delivered in Yoruba. With this song, the film dwells on the beauty of the grieving process and celebrates solitude and reflection as well as the burning of the mourning attire that usually marks the end of the period.
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CKay takes the lead on “Anya Mmiri” which is literally translated as tears– a superfluous affair that wastes the brilliant use of the melodious oja flute. The flute is also incorporated in the film’s climactic battle scene, and is used to better effect on the Amaarae stunner, “A Body, A Coffin” on the prologue disc. Mexican and African cultures collide on songs like “La Vida,” a lively celebration of cultural identity that also stresses the links between minority communities. Snow Tha Product and American rap icon E-40 share lead on this hip hop mariachi fusion. Elsewhere Rema puts in a surprisingly confident verse and more than holds his own alongside rapper Alemán on the braggadocious, “Pantera.”
Just like the film that inspired it, the soundtrack album is more than its mournful parts. The South Africans DBN Gogo, Sino Msolo, Kamo Mphela, Young Stunna and Busiswa get the party started-twice- on Amapiano anthems, “Love & Loyalty (Believe)” and “Jele.” And Tobe and Fat Nwigwe are delightfully boisterous on the highlight, They Want It, But No. The soundtrack serves as further proof that as far as African cultures go, the grieving process can also be a celebration of life.
Stream ‘Wakanda Forever – Music From And Inspired By’ below.
Wilfred Okiche is a writer, culture critic and all round great guy-at least that’s what people say. He tweets from @drwill20
ICYMI: Kenya’s LGBTQ Community Is Still At Risk
Mila Smith’s ‘You Need Therapy’ is an emotion-laden body of work from a rising star
6-tracks shining with conviction and versatility
Exploring any creative path, especially at such a young age comes with significant levels of doubt and the universal weight of personal expectations. In these times, forging a creative career is even more tasking given the vast amount of saturation in the industry and the overwhelming pool of talent looking to make their big break. Nonetheless, when it comes to music, new stars are being minted and a new vanguard of hitmakers are emerging from the African continent.
In the music industry today, success is measured by the billions of streams and number of accolades an artist can accomplish in their career span. Given this system of rewarding based on merit, it can be easy to side-step the collaborative process of music creation and remain insular in music delivery and performance. However, true creativity springs from the channeling a true and honest collaborative spirit and inviting others into your creative vision. This experience of working closely with other creatives is at the heart and soul of rising South African singer, Mila Smith’s music which sounds like aural healing for listeners in need.
In an exclusive interview with the NATIVE, Mila emphasises the sacred process of choosing collaborators so early on in her professional career and how one move could make or break your career. “It’s also just someone that holds the space for you to fail. Oftentimes, the best ideas will come out of failure and a shot in the dark. Sometimes you wouldn’t take that shot or make that leap if you’re afraid of judgment. I look out for people that hold that space and make room for that creativity to shine through,” she admits. With the release of her debut EP, ‘You Need Therapy,’ Mila’s maturity shines through not only in her choice of collaborators, but also in her ability to peel back the curtain on her personal experiences and journey thus far. Her sound, depicted largely through a soulful, pop-driven soundscape shines a spotlight on her storytelling abilities as she details her roaring emotions in the most honest and vulnerable way.
The arrival of the 6-track extended play was teased by her 2021 standout debut, “Liars and Fakes.” Largely inspired by American pop princess, Dua Lipa and one of Mila’s greatest inspirations, Madonna, the pop-driven track provides an upbeat atmosphere for Mila to call out all the two-faced people in her life. The single leads in with daunting piano keys, followed shortly after with groovy strings that allow Mila travel into the rock atmosphere and aptly unpack her emotions. “Special, just an adjective you used for me,” she croons, immediately establishing the mood of the track.
She is unafraid to express her true emotions as she shares just how exhausting the inconsistencies are for her. When the song’s hook rolls around, Mila clearly proclaims over the now high-tempo progressions, “I don’t like liars, I don’t like fakes.” She takes the second verse to warn, “don’t come back when I succeed,” evidently confident in her abilities. When the track draws to a close, it is clear that Mila isn’t one to shy away from somewhat replicating her idols, while adding her own unique spin.
In a short time, Mila has been able to connect to audiences both within South Africa and beyond, holding the promise of an artist on the cusp of further breakthrough. It was in this well-deserved limelight that she unveiled another layer of her artistry with a pop-punk track, “Nice Guy,” in late 2022. “Nice Guy,” also serves as an introduction to her latest EP ‘You Need Therapy,’ and finds Mila operating pre-naturally at ease with her budding talent. “The lyrics are very honest but they pack a punch. I felt like it was only with a more Rock or Punk sound that the message of the song would’ve been perfectly conveyed. Had I stuck to another genre, maybe the music would not have been as effective,” Mila shares of the track.
On “You Need Therapy(Ready),” Mila shirks stylistic expectations and delivers a powerful rendition which brings her soulful vocals to the fore. After a series of distasteful actions, Mila has finally decided to part ways with her love interest in what we can conclude is her most honest delivery yet. This self-empowering number sees Mila reassuring herself and listeners that it is alright to part ways with unfavourable situations despite how familiar they may seem. Despite the song’s emotion-laden lyrics, the narrative is told through the lens of an upbeat, piano and guitar-led production with pop sensibilities.
“Toxic,” like the other tracks on the EP, is hinged on the subject of romance and affection. Here, Mila sings “You’ve got two personalities and I don’t know which one you are with me/It’s toxic, it’s toxic,” addressing an undeserving lover. On this mid-tempo number, Mila grapples with disappointment from discovering the truth about a close companion. In a similar fashion to “Nice Guy,” she struggles to connect her expectations and reality as she explains, “Were you like this all along?, I had hoped that I was wrong.“ By the conclusion, it’s clear that Mila is just here to express her emotions whether or not that comes with a resolution.
The penultimate track, “Hide In Hell,” is a powerful anthem depicting all the self-assuredness and conviction that comes from forging one’s own path and not leaning on anyone else. Mila had to tap into strong emotions to relay this experience and told the NATIVE that “Initially, when I was writing this I had this fixation on distance. My other producer also had this imagery of a hotel which kind of links to distance, travel and separation.” The track takes on a darker, more mature tone as she outrightly asks her love interest to hide in hell because their situation is beyond redemption.
On the EP closer, “Can’t Cope,” Mila gets candid about her struggles from childhood, a familiar experience for most young African adults. She aptly expresses feelings of dread while singing with a powerful voice laced with a honeyed falsetto, vivid yet economical songwriting, and expansive production. Speaking about the track, Mila shared “this was written when I was preparing for a math test in 2018. I was 14 years old at the time and I was on the stairs, crying because I despise math. The first line was my real experience because my head was in my hands and I did hate it.”
With a collection of poignant and resonating tracks, alongside lyrical breakup anthems more pointed and razor-focused than the last, it’s safe to say that Mila Smith is a recognisable talent with a penchant for narrative and relatable emotions. Mila’s conviction is apparent through the course of the ‘You Need Therapy,’ priming her for eventual success in her near future.
Listen to ‘You Need Therapy’ here.
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ICYMI: IDENTIFY: MILA SMITH IS MAKING HEALING MUSIC
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A 1-Listen Review Of ODUMODUBLVCK’s New Mixtape ‘EZIOKWU’
Featuring Wale, Fireboy DML, Amaarae &
There’s an art to saying things as they are, especially for rap artists where authenticity is of the utmost importance. It’s within the parameters and interpretations of technique that listeners come to decipher what makes a rapper tick, but ethos is almost always evident from the jump. In the years since he started working his way through niche, underground conversations, ODUMODUBLVCK has clearly been compelled by telling the truth, his truth—of his gritty lifestyle, of his run-ins with the Nigeria’s compromised policing and legal system, of his hunger to reach the pinnacle.
Even though his booming baritone adds a layer of embellishment to his lyrics, there’s a lived-in edge that signals that he’s more participant than witness, a man who means every word he raps and sings. In Nigerian rap, he’s kin to icons like Eedris Abdulkareem, Six Foot Plus and Erigga. In embracing a more versatile, partly-melodic approach that converses with contemporary Nigerian pop and embraces his Igbo heritage, Odumodu has emerged as one of the distinct voices in mainstream Nigerian music.
Building a core following of believers who hang on to every line (and tweet), as well as a string of veritable hit songs has driven the hype train to a feverish peak. The latest destination in the ODUMODUBLVCK chronicles is ‘EZIOKWU’, his new mixtape and major label debut (NATIVE Records/Def Jam). Expectations are high, but as he’s reiterated on social media, being a star is his destiny which indicates that the pressure of delivering great work hasn’t affected him. ‘EZIOKWU’ is no longer coming, it’s here; let’s listen to Odumodu’s truth.
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In usual 1-listen review fashion, all reactions are in real time while the music plays. No pauses, rewinds, fast-forwards or skips.
“COMMEND”
Groovy right from the jump. Recently listened to that Black Sheep project and it still holds up, but the evolution has been crazy in the years since. “I go pin am to wall if she permit me, consent” is a bar. The raunchy imagery on this song is wild, apt too because this is who ODUMODUBVCK has always been. This man is a walking R-18 film, LOL. A pretty good one at that. The harmattan in Abuja do be crazy, Nigeria’s north generally. Nice intro, I liked the melodies.
“DECLAN RICE”
Ah yes, the global hit song. I remember thanking ODUMODUBLVCK when Arsenal left it late to smoke United. “Ekelebe Stunner!” is one of the best self-given nicks in Nigerian music, ever. The snares on this shit go absolutely crazy, Trillo created a heat rock and it’s only fitting that Mr Stunner put in a performance for the ages. These melodies are hitting like crack; not that I’ve ever tried it before. Such a banger even after hearing it a couple of times.
“KUBOLOR” (w/ Amaarae)
Ooooh, these guitars have that palmwine-highlife sauce, word to Juls and Show Dem Camp. These melodies are glistening. Log drum rimshots, nice touch. That verse went by a little too fast but this song is jamming. Amaarae is walking on water! “I’m in it for the dollar, no distraction/four bitches in the crib, all doing fractions” is such a fire couplet. I will be running back here as soon as I’m done with this. Such a slap.
“ADAMMA BEKE”
I’m warmed up. Ucee tag, I’m awake. This is gangsta Nigerian R&B, if you ask me. For its title, it’s fitting that he’s hitting the falsetto. Mhm the verse hasn’t sunk in for me yet but will revisit. Okay, I liked that coda but I’m happy to be back at the hook. It’s so good. New subgenre: R&Odumodu. LOL. This is too short but it’s a bop.
“SHOOT AND GO HOME”
Of course, the man known as Big Kala will have a song with shoot in its title on his project. Ha! Some gruff singing, none of that soft shit. Haha! I like this already. The Igbo folk elements are giving this drill beat a very Nigerian/African texture and colour. I want to hear Aguero Banks on a remix of this in the future. This man goes straight to the point, that’s the centre of this song. Every bar is blunt! Another verse? That’s a surprise on this tape so far, not complaining, though. Is Odumodu a defunct member of Migos? All these references to his mother, haha. There’s force on this song, nice change of pace even though I liked the melody-driving approach to the previous songs. Keeper for me, this one.
“TESLA BOY” (feat. Blaqbonez)
The two leaders of the Rap renaissance. I like that this doesn’t seem like a bar off. That would’ve been nice but both Blvck and Blaq have expanded their approach to great success so far. This is a great song to play in the car on the way to a lit night out. I’ve heard this melodic flow before from Blaqbonez but I can’t call it hackneyed. I wish I was hearing some gripping lines from him, though. This hook sneaks on you very quickly, man. I like this and it may grow on me.
“MC OLUOMO”
Oh yeah, the widely talked about single(for obvious reasons). I can’t lie, this beat is nuts. That’s its defining factor–hats off to the chef. I’m sure ODUMODUBLVCK knows he has presence, it’s in the way he manipulates the pockets, never overwhelming but always in control. There are bars here but it’s not for me.
“BLOOD ON THE DANCEFLOOR” (w/ Wale & Bloody Civilian)
Okay, we’re definitely on the dancefloor. This is the song with the most intriguing title on ‘EZIOKWU’, and I’m so hyped for the features. ODUMODUBLVCK is setting the tone with these well-honed melodies, putting some sway in my shoulders. I like this flow on the verse. “Odumodu fala folo, decipher konji” is such a perfect line. Bloody! This woman is so talented, she sounds so effortless in this. Quick cameo before Wale swings in with some swagger. I like these appearances. Ooof, the harmonies between Blvck and Bloody are hitting! That’s the highlight of this song, wish it came in much earlier. Keeper!
“FIREGUN” (w/ Fireboy DML)
Another single. A little surprised this didn’t tear up the charts even more, very viral-ready jam. Perhaps a top 5 Fireboy DML feature, he’s in between that loverboy we know and the playboy he wants to be. ODUMODUBLVCK being vocal on consent is huge deal, considering how much of his music is hinged on bravado and machismo. Not a personal favourite but there’s a reason it has over two million views on YouTube. It slaps on those night outs.
“SAINT OBI” (w/ Reeplay)
This that Anti World Gangstars shit! Let’s go! “Their papa no get OT/I’ve been on the road since OPC” is a quotable! If you know, you know. Talk to them! This verse is nuclear-level shit, and we get some Reeplay action, too? Talk to me! I’m so hype. Reminder that Reeplay’s ‘The Jig is Over’ is one of the hardest rap albums this year. Is that state of emergency line an intentional reference to the Nollywood classic? Oh fuck! Saint Obi was in that film. Absolute classic. One of the greatest Nigerian action films, if you ask me. Boooooo! Why is this song so short? FFS.
“STRIPPERS ANTHEM” (w/ Teezee & PsychoYP)
These drums don’t have the earth-shaking punch I want to hear! Fuck! I’m not particularly into this mix. I think that ODUMODUBLVCK’s voice has been robbed of some of that heft. Teezee rapping with that trademark swag, you can tell there’s always Benjamin Franklins in his pockets. This is very Juicy J-inspired, you know that song. YP always raps like rapping should be fun, even when he’s posturing. It’s a huge gift. This is probably the easiest hook ODUMODUBLVCK has written and performed in recent years.
“DOG EAT DOG II” (w/ Cruel Santino & Bella Shmurda)
I remember listening to the OG version of this song and my eyes were widened for like half the song. Ucee deserves all the best things in life for this beat, it’s the apex vision of Okporoko Music if you ask me. If aliens ask me to introduce them to ODUMODUBLVCK, this is what I’m playing, partly so that they can immediately be enthralled by Santino too, LOL. I love that there’s no need to decipher any Santi line, he’s more audible than he’s been in year. Bella smoked this, too. This is one of those rare cases where the remix is as good, if not better than, the original.
“HAMMER TIME”
This album has flown by. Ucee tag again, this man is definer of ODUMODUBLVCK’s more melodic side. “Praise to the Lord/Tochukwu go meet up/he was born to be meet up” is a signifier of ultimately self-believe. I can hear a flute synth droning gorgeously underneath. Man, I really like this song. Never been to Enugu but I feel like I’m there. This is a heat rock, a deep cut but definitely a standout for me.
“PICANTO” (w/ Ecko Miles & Zlatan)
The song that got things going, still such a slapper! “You go contact” is one of those funny-not-so-funny quips in PH pidgin. Imagine someone telling you for the first time, “You go contact,” you’d probably have your heart in your mouth while trying to choke on a chuckle. Shout-out Zlatan for this look, he definitely didn’t phone in his verse. He met ODUMODUBLVCK at his gangster level, which isn’t novel but he doesn’t go that route very often. Officially, Odumodu’s falsetto is officially one of the wonders in Nigerian music.
Final Thoughts
ODUMODUBLVCK came prepared, that much is evident on ‘EZIOKWU’. The rapper’s latest mixtape is a no frills exercise with album-level execution, no second is wasted and a statement of embracing stardom has been made. For the familiar, none of it is surprising. In addition to being as real as possible, there’s been an aspirational overtone to ODUMODUBLVCK’s music, a readiness to always level up. Part of that is what pushed him to incorporate melodies into his creative process and it’s not just helped him become more dynamic, it’s vaulted him into breakout territory.
‘EZIOKWU’ is a proper encapsulation of what it means to believe in your own sauce, beyond the sake of hubris. He’s worked hard and smart to get to this point, and he’s relishing the spoils of success with an invigorated edge. The raps pound the earth and the melodies waft to the skies; the music is vibrant and varied, and the features are roundly brilliant. Most importantly, ODUMODUBLVCK is in total control while toggling his voice between aggressive rapper and melody bender. Talk about a man who can do both. In its assuredness, ‘EZIOKWU’ is a show of musical excellence.
Stream ‘EZIOKWU’ below.
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AV Club: ‘African Folktales, Reimagined’ Explores Indigenous Stories Through Short Films
rich in storytelling & feminist
In 2021, Netflix and UNESCO partnered to launch a short film competition on African folktales to discover new voices and to give emerging filmmakers in Sub-Saharan Africa visibility on a global scale. The six winners were trained and mentored by industry professionals and provided with a US$75,000 production budget to create short films alongside also receiving $25,000 each. The result of that competition is the six-part short film anthology ‘African Folktales, Reimagined.’
‘African Folktales, Reimagined’ is the brainchild of six African film directors, which include Korede Azeez from Nigeria, Loukman Ali from Uganda, Voline Ogutu from Kenya, Gcobisa Yako from South Africa, Walt Mzengi Corey from Tanzania and Mohamed Echkouna from Mauritania. In tandem with the theme of the competition, all six directors take an old tale unique to their country and spin them into modern yet inventive interpretations for new audiences. These short films also incorporate indigenous African languages for their dialogues, as well as English and French.
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Loukman Ali’s “Katera of the Punishment Island” starts the anthology. The Ugandan director is no novice (his 2020 film The Girl in the Yellow Jumper is on Netflix and he directed the Jade Osiberu-produced 2022 film Brotherhood). Set in the early 1900s, the film is based on the old western Ugandan island of Akampene, a Rukiga word for “punishment,” where unmarried pregnant girls, whose conditions brought shame to their families, were abandoned to die. Katera (Kababiito Tracy) is one such girl. In her case, it isn’t her family who sent her to the island; it is Gregory (Michael Wawuyo), a general who is a sympathiser with the British colonialists.
After being rescued by Omar (Michael Wawuyo Jr.), Katera plots revenge against Gregory. Loukman Ali’s grip on “Katera of the Punishment Island” oozes confidence; he knows the kind of thriller he wants to make the film—drama-like yet action-packed—and does so flawlessly. He also maintains his working relationship with father-and-son actors Michael Wawuyo and Michael Wawuyo Jr, from The Girl in the Yellow Jumper, and the 2021 short films The Blind Date and Sixteen Rounds.
In the world of Nigerian director Korede Azeez’s “Halima’s Choice,” 99% of the world population has uploaded themselves into a virtual paradise called Napata. Deep in a Fulani village in this postmodern, AI-enabled space lives Halima (Habiba Ummi Mohammed), a young girl desperate to escape an arranged marriage. He meets and falls in love with Umar (Adam Garba) but their union is threatened by familial, societal and technological difficulties. Azeez, who has been honing her craft with other short films (like 2020’s Tip of the Edge), cites the Nigerian folktale “The Disobedient Daughter Who Married a Skull” as inspiration for her short film, which received production assistance from Kenneth Gyang’s Cinema Kpatakpata.
Kenyan director Voline Ogutu’s “Anyango and the Ogre” slightly toes the sci-fi path. Based on a children’s folktale, the film portrays Mama Otis (Sarah Hassan) who, with her three children, is stuck in an unhappy marriage rife with violence. In the film’s world, citizens are divided into two groups: Grey Zone and Blue Zone. The former is an abandoned territory full of single and unmarried women (sometimes with children) whose lives are shown to hold no meaning until they get into the Blue Zone. The latter is paradise-on-earth: colourful, serene and a place strictly for married couples and their families. Otis (Trevor Jones Kamau) is the driving force of “Anyango and the Ogre,” as he, unhappy with the attitude of his father (Lucarelli Onyango), seeks better fortunes for his mother and two siblings.
For Mauritanian director Mohamed Echkouna’s lead character (Zainabou Ahmed Mohamed) in “Enmity Djinn,” who is in her late seventies, her nemesis is always seeking her. From the sand-covered fields of the desert to a bustling Mauritanian city, a djinn—an ancient spirit—terrorises the grandmother, serving as a reminder of a haunting past. Echkouna’s film, just like his 2016 short film Trail of Hope, through the purview of culture and religion, casts a light on how both function in the lives of its characters. In Tanzanian director, Walt Mzengi Corey’s “Katope,” culture and community collide in the life of the eponymous character (Rahele Matete), a young girl, whose destiny, from birth, is tied to the fortunes of her village. South African director Gcobisa Yako’s “MaMlambo” borrows inspiration from South African mythology as the aforementioned river goddess, played by Simphiwe Dana, resurfaces in present-day South Africa to pursue her duty of watching over troubled bodies.
One underlying thread connecting all six short films is their feminist viewpoints on the topics of domestic violence, sexual violence, forced marriage and female empowerment. The films are written entirely by their directors (except for “Enmity Djinn,” which Mohamed co-wrote with Connor Syrios, and “Katope,” which Walt co-wrote with Rebecca Mzengi Corey) and feature female characters who fiercely defy the status quo and handle any situation they find themselves. Even in the Otis-led “Anyango and the Ogre,” it is his mother’s decision that ultimately changes their lives. These short films join a list of recent productions on the African continent that centre women as major and important characters, including King of Boys (2018), Rafiki (2018), Lionheart (2018), Binti (2019) and Lingui, The Sacred Bonds (2021).
While there are male characters who contribute to the development of the films’ plots, there is a deliberate act to shield the lead characters away from the male gaze. In the six films, the lead female characters face male figures in their lives who want to knock them into submission. For Katera in “Katera of the Punishment Island,” it is Gregory; for Halima in “Halima’s Choice,” it is her father, played by Sani Mu’azu; for Mama Otis in “Anyango and the Ogre,” it is her abusive husband; for the grandmother in “Enmity Djinn,” it is the djinn; for Katope in “Katope,” it is an elder in her village; and for Amandla (Zikhona Bali) in “MaMlambo,” it is an unnamed male voice that haunts her sleep. Still, the male characters are also important figures who rouse something in the female characters—like Omar in “Katera of the Punishment Island,” Umar in “Halima’s Choice” and Otis in “Anyango and the Ogre”—but they don’t steal the agency of the female characters, as the filmmakers ensure the bulk of the decision making lies at their feet.
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It might be that, due to the theme of the competition that birthed the short films in the first place, there is also a conscious effort to portray diverse cultures of Africa, majorly through setting, costume and dialogue. Each film is richly textured with the elements of its location, whether it recalls the past or is set in the future. The filmmakers are also bold to venture into genres such as fantasy and science fiction, offering glimpses into the stylistic choices of Africa’s new generation of filmmakers.
On the technical side, the films are of high quality; the cinematography and sound, in particular, are not pedestrian, as they feature both experienced hands in Loukman Ali (“Katera of the Punishment Island”), Baba Agba (“Halima’s Choice”), Enos Olik (“Anyango and the Ogre”), Sheldon Chau (“Enmity Djinn”) and Konstantinos Koukoulitos (“Katope”). But as is bound to happen, some filmmakers in the anthology exhibit a level of mastery that is exemplar for all to follow suit. Yet, ‘African Folktales, Reimagined’ is a rewarding ride.
The filmmakers in ‘African Folktales, Reimagined’ have, rightfully, utilised the opportunity from Netflix and UNESCO to showcase their talent. With the attention of a global audience fixed on them, they are certain to benefit because the works that have contributed to the anthology are excellent. In the greater scheme of things, it is a win for African filmmakers and the continent as a whole.
Stream ‘African Folktales, Reimagined’ here.
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