Worldwide Women Project: April: Rafiki (2018); dir. Wanuri Kahiu

When I put Rafiki on my list for the Worldwide Women Project, I knew nothing about it other than the fact that it starred two women, was directed by a woman, and came from Kenya, a country that I had not yet put on my list. Therefore, it quickly fit my criteria for the project, and was marked down for April. 

That is why I was so pleasantly surprised coming out of the film to realize that it not only told such a beautiful LGBTQ+ story, but was also a politically and socially conscious film that had an even more politically conscious production history. Rafiki is a story that reminds me, as an American, how far the rest of the world still has to go on certain social issues. 

Rafiki tells the story of two Kenyan girls, Kena, an aspiring doctor, and Ziki, Kena’s free-spirited neighbor, who develop a friendship that quickly evolves into a touching romance. But unfortunately for Kena and Ziki, Kenyan society and the nation’s laws do not approve of their love. Kena and Ziki end up being arrested for their relationship, and split up, before having a hopeful reunion in the film’s final moments. 

I was quite charmed by Rafiki. Having the last film be Portrait of a Lady on Fire, I cannot compare the two love stories, and the latter film is definitely more powerful and better made. However, Rafiki reminds modern audiences that LGBTQ+ couples still face the same challenges that those in the nineteenth century did, as seen in Portrait, which makes it vital film viewing. The two leads, Sheila Munyiva and Samantha Mugatsia, have great chemistry both as people in love but also as great friends, which deepens their emotional connection and makes it easy for the audience to root for them early on. 

Rafiki had a similar trajectory as its protagonists upon the film’s release. To be more specific, the Kenya Film Classification Board released a statement, claiming that the ban is “due to its homosexual theme and clear intent to promote lesbianism in Kenya contrary to the law.” The film was slapped with censors and bans from its home country, a sobering reminder that LGBTQ+ rights have so much farther to go around the world. This beautiful love story could not be seen because instead of a heteronormative couple on display, two women fell in love. 

In retaliation to the restriction, director Wanuri Kahiu sued, and Rafiki was able to be screened in Kenya for a brief seven days, making it eligible for the Academy Award for Best Foreign Language Film (a category now known as Best International Feature Film). Rafiki was ultimately not selected for submission to the Academy by the country of Kenya, but Kahiu’s persistence made sure the film was seen in the U.S. and beyond.

Rafiki is not my favorite film of the ones I have watched thus far, but it may be the most important. I always admire storytellers who fight for their vision and creativity with as much valor and determination as a soldier fighting for freedom. And Wanuri Kahiu is a mighty soldier who made a beautiful love story that should be seen, and I am so glad that I did. 

KFCB’s statement on Rafiki: https://twitter.com/infokfcb/status/989837096251781120?lang=en