THE STORY – 13-year-old Nawi finds out her father is selling her to a much older man for a herd of goats. Instead of obeying tradition she chooses to fight her impending marriage and embarks on a journey to reclaim her dream of joining high school.
THE CAST – Michelle Lemuya Ikeny, Joel Liwan & Benson Ochungo Obiero
THE TEAM – Kevin Schmutzler (Director/Writer), Vallentine Chelluget, Apuu Mourine (Directors), Milcah Cherotich & Tobias Schmutzler (Writers)
THE RUNNING TIME – 103 Minutes
All of us have a recognizable feeling that is instilled in childhood. It spawns from that simple question, “What do you want to be when you grow up?” It’s an inquiry that immediately sparks the imagination of a young mind, contemplating the endless possibilities that await once having crossed the threshold to become an adult. There is an unbridled optimism that is quite enchanting and untainted by the cynicism that comes with age. Unfortunately, not every child is able to embrace this mentality. Hardships may persist in a manner that blunts creativity and forces difficult choices that snuff out potential. “Nawi” explores that dilemma, looking at the forked road that presents the impossible choice between prosperity or silent suffering. Overall, it is an engaging portrait slightly undermined by its dramatic conclusion.
The film tells the story of Nawi (Michelle Lemuya Ikeny), a thirteen-year-old girl from a small Kenyan village determined to live up to her ambitious aspirations. She studies hard for her school exams, hoping to earn high enough marks to continue her education by attending the nation’s prestigious high school. Her hard work pays off, and her invitation is set. That is, until a major complication arises. For her father (Benson Ochungo Obiero) to settle numerous outstanding debts, he arranges to sell his daughter to a local businessman in exchange for a flock of livestock. Nawi obviously protests this, as does her mother, Rosemary (Michelle Tiren), and her brother, Joel (Joel Liwan). Powerless to contradict the patriarch, Nawi is sent away. However, her spirit cannot be broken, and she escapes the confines of her new home and begins a journey to free herself from this bondage and achieve the independence she has always dreamed about having.
There is a familiarity with this subject matter that could present the danger of making this story feel predictable, even though it’s of grave seriousness. The conflict a young girl faces as she is torn between foraging ahead in her own self-actualization and being trapped by traditionalist tenets is a compelling topic, heightened even more by the earnest depiction of the excitement for a future that is quickly snuffed out. The collaboration of four different directors, credited as Toby & Keith Schmutzler, Vallentine Kinaga Chelluget, and Appu Mourine Munyes, the showcase of Nawi’s homelife is one of the simple pleasures as a foundation for a passionate yearning. The compositions are not always striking, but there’s enough impactful imagery that speaks to this protagonist’s inner turmoil. Conveying this emotional state can get heavy-handed at times in the filmmaking, particularly with a musical score that lays it on pretty thick. Yet, there is a captivating atmosphere being crafted in this character study. It’s not especially complicated, but the metaphor of seeing this one girl’s social status be equated to the group of animals being traded for her stock is poignant nonetheless.
As touching as this story is, the screenplay from the Schmutzlers and Milcah Cherotich has a habit of overindulging in some more conventional thematic commentary that slightly undercuts the impact of these characters. The more blatant social statement being made here, one that sharply condemns the exploitation of children into illegal marriages and the fatal consequences of bearing children that result, is obviously a noble cause to shed light onto and expose. However, the manner of this exhibition is delivered through broadly defined characters outside of the lead and messaging that becomes more like proselytizing than a natural dialogue for this situation. The final ten minutes turn much more dramatic in this regard, underlining the serious nature of these real-world circumstances but amplifying the stakes to a degree that it feels inauthentic and downright hokey. The power of this narrative quickly unravels, which is a shame considering that this examination was initially quite inviting in creating a commanding perspective.
For her part, Ikeny brings an endearing screen presence to her role in a way that never makes Nawi overly precocious. Even in such an extreme environment, there’s a grounded quality to her performance that makes the character believable, and the journey she feels compelled to undertake becomes an enticing venture. She manages to internalize most of her emotions and always delivers a great impression. The ensemble surrounding her doesn’t have the benefit of playing equally nuanced roles, but they still give engrossing portrayals. Tiren is particularly devastating as the mother who is forced to live with the harsh realities of the happiness her daughter is forced to give up, and Liwan has a nice chemistry with Ikeny that makes their relationship enthralling. The arc of Obiero’s character may be pedestrian, but credit is due to the actor for miming some complexity within this part all the same, and he gives a performance that presents equal measure cruel and tragic in a riveting manner.
Like many films with a heavy political message, “Nawi” seems determined to establish its commentary as the most vital aspect of its storytelling. What’s unusual about this tactic is that one would mostly see this employed throughout the entire film, built into the structure of the plot itself. However, most of this work is devoid of such heavy-handed tactics. Most of the narrative is constructed around a clear yet effective analysis of a turbulent period in a young girl’s life and her expedition to overcome this adversity. It’s a great misfortune that this level of intimacy isn’t sustained all the way through. As the film progresses, the more detailed character work gets sanded down, making way for a more straightforward summation of a theme that’s stale in execution. Yet, most of the story avoids these pitfalls, and the performances do a great deal to elevate the material. This piece may not have finished as strongly as it started, but it still supplies an intriguing exploration.
