On Becoming a Guinea Fowl

Summary

Pop Culture Happy Hour: On Becoming a Guinea Fowl – Detailed Summary

Episode Release Date: March 13, 2025
Hosts: Aisha Harris, Bhadatri D. Chaudhary, Jourdain Searles

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Introduction

In this compelling episode of Pop Culture Happy Hour, NPR’s Aisha Harris delves deep into the intricate layers of the surreal film "On Becoming a Guinea Fowl". Joined by the Philadelphia Enquirer's arts and entertainment editor and film critic Bhadatri D. Chaudhary, and Jourdain Searles, a writer, comedian, and co-host of the Bad Romance podcast, the trio embarks on an insightful discussion about the film's exploration of family dynamics, trauma, and societal norms.

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Initial Impressions of the Film

Aisha Harris introduces the film, highlighting its opening scene where the protagonist, Shula (played by Susan Shardy), discovers her uncle Fred's body. This shocking event serves as the catalyst for unraveling family secrets and buried traumas.

Bhadatri D. Chaudhary reflects on her personal connection to the film’s themes:

“I come from an Indian family. My parents have many siblings and therefore I have many cousins, which is kind of the setting in the film as well. [04:16] So I immediately, I mean, this is a hard film to, and a weird film to say that I enjoyed it. But I felt it so deeply.”

Jourdain Searles brings a humorous yet poignant perspective:

“You know, the thing that struck me the most was how funny it was. [05:25] I mean, even just like the beginning where they're just discovering the body waiting in the car and Shula's calling her dad.”

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Themes of Family and Silence

The film intricately portrays the culture of silence that pervades Shula’s family, preventing open discussions about uncomfortable truths. Aisha emphasizes:

“It's a powerful story about the silence that keeps families from breaking, but only in superficial ways and with devastating consequences. [00:16]”

Bhadatri adds depth to this theme by discussing the universal nature of grief and the complex feelings towards loved ones:

“When somebody in your family has passed away, there is a sense of grief. You're surrounded by grief all around you. [04:16] But also, you may or may not have very fond memories of this person who has passed, or this person may have been a complex person and you may not think very highly of them.”

Jourdain relates this to his Jamaican family experience:

“We don't really talk about anything that's uncomfortable. And so whenever we're all together, it's just everybody not saying anything. [05:25]”

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Character Analysis and Performances

The hosts delve into character dynamics, focusing on Shula's stoicism and Nsansa's complexity.

Aisha discusses Shula's detached demeanor:

“She's very detached emotionally because she knows what happens when you're emotionally invested. [12:45]”

Bhadatri highlights how the film portrays women within a patriarchal system:

“It shows that how unfortunately a lot of women from older generations and even our generation, we are like co-opted into the patriarchy and we pretty much become foot soldiers. [08:37]”

Jourdain appreciates the portrayal of the aunties as a collective force:

“The aunties are doing something. [10:29]... They can be cruel, but they're so interesting. [10:38]”

Additionally, Nsansa, portrayed by Elizabeth Chissella, is examined for her role as a brassy, troubled character who reveals deeper layers as the story unfolds.

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Depiction of Sexual Assault and Patriarchy

A significant portion of the discussion centers on the film’s handling of sexual assault within the family and the broader societal implications.

Aisha brings attention to the revelation of Fred’s abusive behavior:

“Uncle Fred, like, sexually assaulted several of the women and girls in the family. [11:18]”

Bhadatri compares it to other films handling similar themes:

“I was reminded of Mira Nair's Monsoon Wedding... [14:35] It reminded me of that and... brings in the question of class.”

Jourdain emphasizes the understated yet profound portrayal of trauma:

“They're doing everything but overtly saying it. [13:53]... how within this community, within these rituals, do we talk about it without, you know...”

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Filmmaking and Directorial Choices

The hosts commend Rangano Nayoni’s directorial approach, which blends surrealism with realistic family rituals.

Aisha highlights the film’s unique aesthetic:

“Shula is also dressed as Missy Elliott in the I Can't Stand the Rain video. [07:11]... it's a familiar story that we're telling in a very weird, surrealistic way.”

Bhadatri discusses the symbolism behind the film’s title and its final scenes:

“Guinea fowls... their call is like a call of caution to other animals. [17:28]... all of this coming together in that last scene...”

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Unconventional Ending and Final Thoughts

The conversation shifts to the film's unconventional ending, which leaves audiences contemplating rather than providing closure.

Jourdain reflects on the satisfying yet incomplete resolution:

“There’s a sense of catharsis, but it’s also a little unsatisfying. [17:09]”

Bhadatri explains the thematic relevance of the ending:

“I love that the world is really not a place for women and therefore we should seek out these other planes of existence. [17:09]... guinea fowls... call out when there are predators around...”

Aisha concludes with a strong recommendation:

“I think I'll be thinking about this movie for a very long time. [18:32]... you should absolutely seek it out so then you can think about it as well, please.”

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Conclusion

"On Becoming a Guinea Fowl" emerges as a thought-provoking and emotionally charged film that challenges viewers to confront uncomfortable family truths and societal injustices. Through nuanced performances and a distinctive directorial vision, the film offers a mirror to real-world dynamics while maintaining a surrealistic charm. Pop Culture Happy Hour effectively captures the essence of the film, encouraging audiences to engage in meaningful conversations post-viewing.

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Notable Quotes with Timestamps:

• Bhadatri D. Chaudhary on personal connection with the film’s themes: “[04:16] It’s a hard film to, and a weird film to say that I enjoyed it. But I felt it so deeply.”

• Jourdain Searles on the film’s humor amid dark themes: “[05:25] The thing that struck me the most was how funny it was.”

• Aisha Harris on the culture of silence: “[00:16] It’s a powerful story about the silence that keeps families from breaking.”

• Bhadatri D. Chaudhary on women within patriarchy: “[08:37] ...we are like co-opted into the patriarchy and we pretty much become foot soldiers.”

• Jourdain Searles on the portrayal of trauma: “[13:53] They’re doing everything but overtly saying it.”

• Bhadatri D. Chaudhary on symbolism in the ending: “[17:28] Guinea fowls... their call is like a call of caution to other animals.”

• Jourdain Searles on the ending’s impact: “[17:09] There’s a sense of catharsis, but it’s also a little unsatisfying.”

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This detailed summary aims to provide a comprehensive overview of the discussion surrounding "On Becoming a Guinea Fowl," capturing the essence of the hosts' insights and the film's multifaceted narrative.

Transcript

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[Aisha Harris]

Contains discussion of sexual assault. The surreal new movie On Becoming a Guinea Fowl opens with a woman finding her uncle's body on the road. His death brings the family together from near and far, but also resurfaces old wounds, wounds the elders would much rather ignore. It's a powerful story about the silence that keeps families from breaking, but only in superficial ways and with devastating consequences. I'm Aisha Harris and today we're talking about On Becoming a Guinea Fowl on Pop Culture Happy Hour from npr.

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[Aisha Harris]

Joining me today is the Philadelphia Enquirer's arts and entertainment editor and film critic, Bhadatri D. Chaudhary. Hey Bidatri.

[Bhadatri D. Chaudhary]

Hey, Aisha. I'm so glad to be here discussing this film.

[Aisha Harris]

Yes, me too. It's great to have you back. Also with us is writer, comedian and co host of the Bad Romance podcast, Jourdain Searles. Hey, Jordane, welcome back to you.

[Jourdain Searles]

Hi. Happy to be back.

[Aisha Harris]

Yes. On Becoming a Guinea Fowl stars Susan Shardy as Shula, a Zambian woman who discovers the body of her dead Uncle Fred lying in the road late one night. As the family convenes for the morning rituals, Shula is forced to confront a traumatic past and in the process grows closer with her cousins. Tensions rise over several days as secrets are dragged into the light and aspersions are cast upon Uncle Fred's very young and vulnerable widow. It's written and directed by Rangano Nayoni. On Becoming a Guinea Fowl is in the theaters now. So, Binatri, this was a movie that really caught me off guard and I didn't know where it was going.

[Bhadatri D. Chaudhary]

Yes.

[Aisha Harris]

And I'm sure you kind of felt the same way. So, like, how did this hit you? What were your initial thoughts with this movie?

[Bhadatri D. Chaudhary]

You know, I come from an Indian family. My parents have many siblings and therefore I have many cousins, which is kind of the setting in the film as well. Right. So I immediately, I mean, this is a hard film to, and a weird film to say that I enjoyed it.

[Aisha Harris]

Yeah.

[Bhadatri D. Chaudhary]

But I felt it so deeply. And I think it's pretty much a universal emotion that, you know, when somebody in your family has passed away, there is a sense of grief. You're surrounded by grief all around you. Your mother is sad, which is always such a heartbreaking thing to witness. But also, you may or may not have very fond memories of this person who has passed, or this person may have been a complex person and you may not think very highly of them. And you know, that contradiction is something, you know, when you have a big family, you have definitely faced that contradiction in your life, as have I. And I think even though this is a diasporic African film set in Zambia, as you said, I could relate very strongly to this film.

[Aisha Harris]

Yes. I feel like anyone who comes from a family or a big family at all can Definitely understand and relate in some ways. I also have a lot of cousins.

[Bhadatri D. Chaudhary]

So that if you have more than five cousins, you will relate to this.

[Aisha Harris]

Absolutely, Absolutely. Jordane, you mentioned before we started taping, you're still processing this, but how are you feeling about it?

[Jourdain Searles]

You know, the thing that struck me the most was how funny it was.

[Bhadatri D. Chaudhary]

Yes, absolutely.

[Jourdain Searles]

I mean, even just like the beginning where they're just discovering the body waiting in the car and Shula's calling her dad.

[Bhadatri D. Chaudhary]

Yeah.

[Aisha Harris]

Yes.

[Jourdain Searles]

But, yeah, I mean, I have a Jamaican family. And it's interesting just like watching stuff about families. Cause I know that like, with. And it comes to us, we don't really talk about anything that's uncomfortable. And so whenever we're all together, it's just everybody not saying anything. And there are points when I was watching the movie where I thought about this one lunch that we all had with me and my cousins where we were just like, you know, the elders. We've never really hashed anything out.

[Bhadatri D. Chaudhary]

Yes, Sounds familiar.

[Jourdain Searles]

Yeah. And I was thinking about that so much while watching it. Just all of us just being like, we could talk about this stuff. And why is that?

[Aisha Harris]

Yeah, that is what this movie is about. Right. It's this culture of silence and not feeling comfortable raising anything that might. At one point, one of the characters says, like, I was afraid. I didn't want to break the family. Like, I was afraid to break the family. That just resonates so deeply. Like, it doesn't even have to be something as traumatic as what Shula and her cousins have experienced. It can be something just like, just someone who is very difficult or very complex to deal with. Or it's like you don't always say the quiet part aloud while watching this. Like the first, that opening scene, as you were saying, Jourdain, is so weird because Shula is also. It took me a minute, but I realized that Shula is also dressed as Missy Elliott in the I Can't Stand the Rain video.

[Bhadatri D. Chaudhary]

She sure is super duper fly. Yes, yes.

[Aisha Harris]

She's wearing the oversized, like, balloon suit. And then she has the helme that's like rhinestone encrusted in the glasses. And like, they don't really explain it. At one point she does say, like, I was coming from a party or something when I found his body. But it's just like, oh, sure, why not? And it's that sort of like, weird, off kilter way that Naoni, the director really kind of like taps into this sense of like, this is gonna be a familiar story. But it's gonna be a familiar story that we tell in like a very like weird, surrealistic way. And I'm curious about like, as the movie goes on, what did you make of the way the director kind of expands the world and really kind of like we meet so many aunties, women in this family in passing. There's a lot of tradition here. So the women are inside the house, they all convene in one house and the men are like outside. The women get to like, they are cooking, they are doing all the things they are inside and they are mourning.

[Bhadatri D. Chaudhary]

There are also these very complex rituals of mourning and grieving within the family. Yes.

[Aisha Harris]

Yeah. So like, what do you make of the fact that like we meet a lot of these women and aunties, but only in passing, and yet I still feel as though we get a sense of who the. Even if I don't catch their name, like, it's hard to keep track of who's who. Like I do get a sense of like what this community is like and how difficult it can be for Shula.

[Bhadatri D. Chaudhary]

Yeah. And then, you know, there's the obvious patriarchy of it all. And what I think one of the ways this film absolutely does an excellent job is showing how women are co opted within the patriarchy. Right. Like, you know, it's like, oh, how can I be a misogynist? I'm a woman, you know, and we've heard that so many times. I am a woman too, as a woman. It shows that how unfortunately a lot of women from older generations and even our generation, we are like co opted into the patriarchy and we pretty much become foot soldiers, like you said. Aisha, the men are absolutely inept in this film. They don't do anything.

[Jourdain Searles]

The dad asking for money, for money.

[Aisha Harris]

Oh my God, yes. Yeah.

[Bhadatri D. Chaudhary]

But like the meanest and the nastiest aunties and the things that they say and do, it's so difficult to watch. And you're like, oh, you know what? Like this is what they know. It's heartbreaking but like, we've all seen these instances of this in our society and mostly in our families where the widow is so young and the uncle is a middle aged man when he dies. And the, the way she's treated by these, you know, her sisters in law is so stark. And again, like, of course the director is like taking it to an extreme and playing it like, you know, taking it to the other side and like really amping it up. It's heartbreaking to see that. Right. But it is the reality and Another thing I'll say is, like, you know, it's. As Western audiences, it's very easy to say, oh, it's magical realism. You know, when anything is a little off kilter and not standing by the three act structure. But I am a little wary of using that word. But to Jourdain's point, it's so funny. It's so off kilter and yet so dark. Again, a weird film to call a delight, but this film was such a delight.

[Jourdain Searles]

Well, yeah. I mean, you talk about the way that the aunties are, and it's like I did kind of think of them as a collective. The aunties. The aunties are doing something.

[Bhadatri D. Chaudhary]

The auntie chorus.

[Jourdain Searles]

Yeah, yeah. They can be cruel, but they're so interesting. And through them, you know, you reveal kind of the entire situation of what's going on. And also why Shula is the way that she is. Like, she's very detached. She doesn't really emote very much. And you kind of get the sense that she's checked out emotionally because she knows what happens when you're emotionally invested. And she's like, no, I don't really want to do that. I just want to be able to.

[Bhadatri D. Chaudhary]

She's also shamed for it. Like, aren't you embarrassed that you can't cry at your uncle's funeral? Like, you know.

[Aisha Harris]

Yeah, there's. Yeah, yeah.

[Jourdain Searles]

I mean, you understand the older women crying for him because, you know, they've known him so long. And also there's all of these, like, you know, patriarchal considerations and, oh, you know, he's probably not that bad. But then all of the younger people have a clearly different relationship to him.

[Bhadatri D. Chaudhary]

Yeah, it's like, actually, he is that bad and actually worse.

[Aisha Harris]

Yeah, yeah. Well, let's talk a little bit more about that. Cause I think we've been sort of, you know, dancing around it a little bit, but eventually it is revealed, if you couldn't tell already, that, like, Uncle Fred, like, sexually assaulted several of the women and girls in the family. I think it's really interesting to me the way that we see each of these characters process these things differently and find some of them don't feel comfortable speaking up and saying aloud what happened to them or like, re saying those things aloud all the years after. But they find little ways to resist. Like, they're sitting at one point, they're kind of like they're in the kitchen, just like, they lock the door and they're like, no, we're not coming out to help. There's little ways that they find. And I also just think the character of Nsansa, who is around. It seems like she's around the same age as Shula Bupe, the other cousin, is a little bit younger, but, like, she is when we first meet her, she is this, like, very bawdy, brass. Brassy drunk. Very drunk. Always drunk. Like, that's her thing.

[Jourdain Searles]

She's great. Love her.

[Aisha Harris]

Elizabeth Chissella, who plays her, is just really fantastic. And we later on see the different layers that are kind of being pulled apart here as to why she's like this. And then Shula, as you mentioned, Jourdain, is very kind of stoic. And just like, even when she finds the dead body, she's just like. It feels like more of an inconvenience to her than anything else. She's like, really? She's like, I have to find the body.

[Jourdain Searles]

I have to sit in this car and I have to wait.

[Aisha Harris]

Wait for the police to come.

[Bhadatri D. Chaudhary]

And again, like, down to the policemen. The men are so inept in this film.

[Aisha Harris]

I found that such a really interesting touch is, like, these three characters. And Mbupe, she's the youngest, and we see her actually speak out, and then a character literally says, like, we are not gonna speak of this. An elder. I just found that really, really fascinating. And I wonder what you think about where this stands and how film has managed to talk about sexual assault in different ways. I do think, like, at this point, we've seen a lot of really powerful and interesting depictions of this, mostly from female filmmakers. It feels familiar, but also different.

[Bhadatri D. Chaudhary]

Yeah.

[Aisha Harris]

Did that strike you as well?

[Jourdain Searles]

Well, there is, definitely. Because I usually have watched a lot of films about sexual assault and trauma, and I wrote about them a lot when I was writing for Bitch Media. There's usually so much drama attached to it. And this is kind of different in the sense that it's about. It's specifically about what we're not talking about. But you also get to the effects. It's like it's everything. They're doing everything but overtly saying it. And it's kind of like how within this community, within these rituals, do we talk about it without, you know, going, I guess, like, kind of like full Western and just like, Western media and just being like, this is what happens now. Everyone's crying.

[Bhadatri D. Chaudhary]

You know, speaking of other films, Ayesha, I was reminded of Mira Nair's Monsoon Wedding, where there's a similar. Like, the niece. It's a big Indian wedding, and the niece of the family actually says, I don't Want to be a part of this wedding because there's this uncle who abused me as a child, and then there's huge drama and there's the same idea that you're breaking up the family. What are you doing? This is a happy occasion. I love that film because at the end of it, the patriarch of the family asks this uncle to leave and says, my daughters are everything for me and please leave. It reminded me of that and it reminded me of Monsoon Wedding. Also, because of the class question, it is very important here to note that Chi Chi is young and poor.

[Aisha Harris]

Right. And Chi Chi is Fred's widow and.

[Bhadatri D. Chaudhary]

Like, needs Fred's money to survive. And she has, like, six kids and she's very, very young. And Fred clearly belongs to this family that's, like, upper class. They have this big house. They're hosting all these people for the funeral, and by the end of it, they refuse to give her any money. So I also think the director does a fantastic job of complicating this and bringing in the question of class, saying, yeah, he probably, of course, being a man in the society affords him this privilege, but also the fact that he's a rich man means that he can keep doing this and getting away with it beyond his family as well.

[Aisha Harris]

Yeah. And to that point, the fact that he was even able to marry someone so much younger reinforces sort of this idea that the family is okay with these things happening. You know, granted, I don't think Shula even knew he had a widow. It's not clear how many people knew he was married, which is strange. He has, like, a whole family.

[Bhadatri D. Chaudhary]

Yeah.

[Aisha Harris]

Naonie is someone who I'm definitely now, like, I'm gonna seek out anything she does because she just has, like, this hold and this understanding of what it means, like what these limitations are for women even in modern day times, and how women help to uphold patriarchy in many ways. And she isn't afraid to say that.

[Bhadatri D. Chaudhary]

Yes.

[Aisha Harris]

And she's just like a really dynamic filmmaker. There are a lot of shots, including the final shot in this film on becoming a guineafowl that is just, like, really, really powerful. I don't know. I want to close by asking you all, you know, this doesn't quite end in the same way that Monsoon Wedding does. You know, what do you make of the fact that it doesn't quite go the way I think most, at least Western audiences maybe think it does or should?

[Jourdain Searles]

You know, as we were talking about the film, it made me realize that the ways in which the ending is Unsatisfying, kind of makes perfect sense for what the film is trying to do. So I kind of worked it out while we were talking.

[Bhadatri D. Chaudhary]

Glad to be of service.

[Jourdain Searles]

But I mean, the ending, there's a sense of catharsis, but there's also, it's also a little unsatisfying. And I think that that's, I think that that works for it.

[Bhadatri D. Chaudhary]

I love that this world is really not a place for women and therefore we should seek out these other planes of existence. I love that idea. But also, you know, the film is called On Becoming a Guinea Fowl. And it kind of, again, not saying too much, the ending kind of speaks to that name, that why does it have that name, you know? And guinea fowls in the animal kingdom, which tells us they actually, their call is like a call of caution to other animals. They call out when there are predators around and they call out so that the other animals near them know that there are predators around and they can save themselves and protect themselves. So I think, you know, all of this coming together in that last scene, again, it's not satisfying like Jourdain says, but it doesn't have to. It just leaves you with all of these things to deal with.

[Jourdain Searles]

I believe she was a lot to think about.

[Aisha Harris]

Well, I think I'll be thinking about this movie for a very long time. And I hope people who are listening, if you haven't seen it already, you should absolutely seek it out so then you can think about it as well, please.

[Bhadatri D. Chaudhary]

Absolutely, yes.

[Aisha Harris]

And maybe even talk to your friends about it and then process it in the same way that all three of us were able to do here. So let us know what you think about On Becoming a Guinea Fowl. Find us on [e-mail] and on [e-mail] nprpopculture we will have a link to that in our episode description. That brings us to the end of our show. Jordane Searles Bhadatri D. Chaudhary, thanks so much for being here. This was a pleasure.

[Bhadatri D. Chaudhary]

Absolutely. Thank you so much.

[Jourdain Searles]

Thanks so much. Always have a good time.

[Aisha Harris]

This episode was produced by Hafsa Fatima and edited by Jessica Reedy and Mike Katsiff. We had audio engineering assistance from Sienna Lofredo and hello. Kamen provides our theme music. Thank you for listening to Pop Culture Happy Hour from npr. I'm Ayesha Harris. We'll see you all next time.

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