In the movie, guinea fowls are described as birds that make noise to alert others of predators. Do you have a sense of how conversations around sexual violence have evolved in Zambia? Has there been a movement similar to #MeToo there?
There was not a #MeToo movement directly in Zambia, but I do feel that conversations around sexual violence are slowly becoming less taboo. I believe social media and film have helped amplify voices globally, and Zambians have access to all of it with the internet. It has opened the eyes of younger generations and has started to encourage them to speak up for themselves and each other. Whilst doing a workshop-rehearsal for On Becoming a Guinea Fowl, I heard of an X account called Believe Us Zambia, where people could anonymously share stories and out their abusers. Although not the same scale as the #MeToo we know here, I do feel it is a brave step in that direction. I hope On Becoming a Guinea Fowl is a catalyst in further breaking the silence in Zambia.
Shula seems to be returning to her family from outside the country, possibly the UK. Since you were born in Zambia but are now based in London, did making this film feel like a homecoming for you?
Oh, absolutely. Every year, I try to go to Zambia because it connects me to my sense of identity and purpose—much of my “why” in life comes from Zambia and my family there, particularly on my mum’s side. Returning was truly special, and in many ways, it mirrored Shula’s journey. She experiences this back-and-forth, attending Zoom calls with people from Europe and around the world, while where she comes from is completely different. I could relate to that a lot, especially when I re-immersed myself in the culture during production. As soon as I arrived, I had to get into character, engaging with the aunties, observing behaviors, and experiencing a daily life that is quite different from what I know in England.
Given that the film is so focused on the present, and we don’t know too much about Shula, how did you approach capturing her inner life? Did you create a backstory for her?
For me, it was about focusing on the young Shula and protecting that young version of her. That was at the forefront. I didn’t get loads of time to prepare in terms of the backstory or anything, but I just felt the most important thing was authenticity. I drew on my own experiences and those of my close family members. I also spoke with my younger sisters, particularly the youngest one, who has never lived anywhere but Zambia. I was too young to attend a Zambian funeral before I left, but my other sisters were present for those moments. It was fascinating to get their perspectives and learn how they perceive funerals, which differ significantly from my grandma’s experiences of them. Some stories were beautiful while others were less pleasant, but the mix informed my preparation. It was really important to find the right balance between respect for the family and the traditions of the family, but also staying true to who Shula was and finding her voice within that framework.
