Or How to Render Metaphysics in Film
If we think of film as “visual storytelling”, Blood Sisters certainly gives us the “visual” even if it sometimes leaves us wondering about the “storytelling.”
Readers of Amma Darko’s Beyond the Horizon, Chika Unigwe’s On Black Sisters’ Street, and Ifeanyi Ajaegbo’s Sarah House may find Onyeka Nwelue’s The Strangers of Braamfontein familiar, especially in its discussion of sex trafficking of African women.
It is not difficult to understand why a volume of poems on the subject of suicide by an African poet can be a difficult thing. The subject is the last taboo, obdurate and stiff as death.
While the characters in Crazy Rich Asians aspire to whiteness, the family in Minari simply wants to survive and live in their realities.