Rafiki is a film that will go down in history. Wanuri Kahiu, in creating a Kenyan film unafraid to portray lesbian sexuality, not only succeeded in winning over the international festival circuit, but also faced down a tough legal battle in her home country. Victorious, Kahiu was permitted to show the film for one week in Kenya (where homosexuality is illegal) so that Rafiki may qualify for Oscar submission — a week that was undoubtedly revolutionary for the Kenyan lesbian community.
Subversive in its very existence, Rafiki’s profound impact is twofold: as a love story, the film crafts a study of forbidden lesbian intimacy unlike any other. Never voyeuristic, Kahiu’s camera traces the bodies of her characters as they touch, following the movements of hands upon skin with breathtaking detail. The absence of what we would typically consider as nudity only strengthens the clandestine, almost wistful nature of Kena and Ziki’s relationship — we are outsiders to their unique bond, and their bodies are not ours to consume. Rather, it is their affection for each other that we witness, and what a beautiful affection it is. The pair is endlessly supportive of each other regardless of the circumstance. When Kena explains her wish to become a nurse, Ziki pushes her —why not a doctor? Kena doesn’t think she’ll get the grades, but Ziki believes in her fully. There is no selfishness between them, and in this sense, they function almost like a friendship, as reflected in the title: “Rafiki” means “Friend” in Swahili. Continue reading “BFI London Film Festival ’18 Review: ‘Rafiki’ is a Beautiful Study of Dual Identity”