Rafiki

This is a contemporary slice of life drama that provides its central characters the agency with which to choose the existence they desire regardless of what cultural, societal, or familial traditions demand. These women aren’t merely bucking against the religious norms of gendered relationships, but the patriarchy at-large. They are here to be more than wives and mothers.

To feel seen is a potent, potentially life-changing emotion, and only those who were never in the dark would have a moral problem with it. Rafiki makes this serious point quite effectively, never losing its ebullience.

This is a love story for the time, not for the ages.

Kahiu gives the film a brightness and vibrancy that works to counterbalance the perilous waters into which Kena and Ziki are venturing.

If the film is uneven—with such an exuberant beginning and disappointingly rote climax—that may simply be because Kahiu wanted to communicate as many truths of her home country as she could.

Its lead protagonists and their endless reserve of raw, bittersweet chemistry are Kahiu’s greatest asset.

While the premise of Rafiki is well-worn, the context of the film is not and Kahiu brings fresh zest to a familiar story which is told with spirit.