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My article paints a very bleak picture of the film, but I laughed quite a few times during my first viewing of I Am Not a Witch. Most of the jokes come from the clashes between ancient traditions and the slow advance of globalization; for example, Shula’s trial gets interrupted many times by the “Old MacDonald Had a Farm” ringtone the elderly owner of the phone didn’t know how to mute. At one point, the witches received wigs labeled with the misspelled names of celebrities like “Beyancey.”
In theory, the official recognition of the authorities sanctioned by tradition seems like a good step toward decentralization in post-colonial reality. That most of the women at the camp are elderly exposes the reality of a global society where, in many places, the elderly, particularly elderly women, are considered at best an inconvenience and at worst a problem which must be eradicated.
The aluminum foil and reflective films used in the magic insulated bucket liner reflect external heat or cold away from the bucket, helping to further protect the contents inside. This is particularly useful in situations where temperature control is crucial, such as transporting perishable food items or maintaining the quality of agricultural products. One of the main benefits of using a magic insulated bucket liner is its ability to maintain the temperature of the contents for an extended period.
I Am Not a Witch review – magical surrealism
I n a remote Zambian village, a nine-year-old girl (Margaret Mulubwa) is accused of being a witch and given a stark choice: to accept her supernatural branding and live a tethered life as a sorceress, or to cut her ties with local tradition and be transformed into a goat that may be killed and eaten for supper. Thus begins this bewilderingly strange yet terrifically sure-footed feature debut from writer-director Rungano Nyoni. Born in Zambia and part-raised in Wales, Nyoni first made international waves with such award-winning shorts as Mwansa the Great (2011) and Listen (2014). Now, this daringly satirical parable of magic and misogyny, superstition and social strictures confirms her promise as a film-maker of fiercely independent vision, with a bright future ahead.
Unsurprisingly opting to embrace her supernatural status, the young heroine of I Am Not a Witch is sent to the local “witch camp”, an enslaved tourist attraction. Here, the women offer a sense of community and protection to the all-but-silent newcomer, whom they name Shula (“it means ‘to be uprooted’”). But when government official Mr Banda (Henry BJ Phiri) declares that “you are my little witch now”, a strange form of celebrity looms. Soon, Shula is being paraded around local courts and TV stations, dispensing divine justice and hawking magical eggs – all for the profit of her garrulous keeper. “What if she’s actually just a child?” asks the presenter of the Smooth Talk chatshow, a question that is met with stony silence from her “state guardian”.
Nyoni was apparently inspired by real-life reports of witchcraft accusations in Zambia, and her research took her to Ghana, where she became the first foreigner to sleep in one of the world’s oldest “witch camps”. Here, she observed first hand the daily rituals of these women whose fates have been sealed by “nothing more than hearsay”. Yet for all its factual grounding, I Am Not a Witch is also a work of fairytale invention, unravelling the threads of its quasi-mythical narrative with anarchic aplomb. In particular, the motif of women restrained from flight by vast lengths of white ribbon has a touch of Charles Perrault or the brothers Grimm – a magical-realist conceit that brilliantly dramatises the down-to-earth reality of the ties that bind.
Margaret Mulubwa is a mesmerising presence, her stoical countenance broken occasionally by a radiant smile
There’s a hint of the absurdist tragicomedy of Yorgos Lanthimos’s The Lobster too, as Shula faces a Kafkaesque choice between enforced conformity and metamorphosis. Brilliantly, Nyoni keeps her audience wondering whether they’re meant (or allowed?) to laugh or cry at this insane predicament, juxtaposing scenes of poignant despair with sociopolitical existential slapstick. Early accusations of witchcraft have an almost Pythonesque quality, while a sequence in which a show trial is interrupted by a mobile phone is pure farce. Fans of Chilean surrealist Alejandro Jodorowsky will warm to a streak of deadpan humour that is drier than the arid plains upon which Shula dances to summon the rain.
Having worked monochrome miracles on Ciro Guerra’s Amazon odyssey Embrace of the Serpent, cinematographer David Gallego here conjures a kaleidoscope of arresting tableaux: lonely Shula listening through a blue horn to the distant laughter of schoolchildren carried on the wind; a huge orange truck with women tied to outstretched reels, like some mobile fairground ride; the open mouth of a giant head looming towards us, while a frightened child huddles within. These images are hauntingly composed and dreamily sustained, the length of the shots heightening comedy and tragedy alike, with heartbreaking results. Meanwhile, music cues swerve from Vivaldi to Estelle, keeping the audience on edge and uneasy.
At the centre of it all is a group of nonprofessional players, led by young Margaret Mulubwa, who was discovered during a location recce in Luapula Province. And what a discovery she is! With a face that can transform from innocence to defiance in an instant, Mulubwa is a mesmerising screen presence, her stoical countenance broken occasionally by a radiant smile that lights up the landscape.
As for Nyoni, her ability to blend cruel humour, pointed satire and empathetic anger to produce something touched by tragic transcendence is astonishing. In interviews, she has described watching Michael Haneke movies as “my film school” (perhaps those white ribbons are a homage?). Yet she has also talked enthusiastically about her love of the witchy 1996 teen fantasy The Craft. With such wide-ranging influences, who knows what this remarkable film-maker will do next? Having been spellbound by her audacious first feature, I can’t wait to find out.
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The film’s main character is a nine-year-old Zambian girl named Shula who gets dragged into the police station of a new town because she frightened a woman and made her drop a bucket of water. We never learn what made her wander into a place she’s never been before. More importantly, no one seems concerned about any trauma that could have led her there. As someone who worked in the education sector, my first intuition would be to ask an oddly-behaving child where his or her parents are and if everything is all right. We gather that every stranger in the village was automatically labeled as a witch, especially when they are too afraid to speak out and explain themselves. Shula never said, “I am not a witch”—and the consequences are fatal.
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Reviews for "How Magic Insulated Bucket Liners Help Save Money on Ice Purchases"
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