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James Ogunjimi
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PR Expert | Co-Founder, Afri Reviews | Author, A Wall Is Just A Wall (Bahati Books, UK, Feb. 2018)
PR Expert | Co-Founder, Afri Reviews | Author, A Wall Is Just A Wall (Bahati Books, UK, Feb. 2018)

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"Kenyan movie Lisilojulikana, otherwise known as The Unknown, has once again received international recognition, this time at the just-concluded Picture This… Film Festival in Calgary, Canada.

The film bagged the awards for Special mentions for a drama over 30 minutes and the esteemed Dodie Spittal Award, and both awards were received by Aggie Nyagari, the director, editor and co-writer of Lisilojulikana.

The Unknown tells the story of a young girl who suffers from cerebral palsy, a form of brain damage that occurs from complications in childbirth. After her father’s death, she was sent to live with her uncle and aunt in Nyahururu."
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"Rwandan actress, Denise Gakire is set to feature in Nollywood veteran, Andy Boyo’s new film, Fugitive United States of Africa alongside one of the most prominent Nollywood actors, Daniel K Daniel and other familiar faces from the Ugandan and Zambian film industries."
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"In Sisi Pelebe, one sees first-hand how dicey revealing certain sexual orientations are, even in close settings like the family. It reveals how far certain people with differing sexual orientations are willing to go in order to fool others who will otherwise be hostile to intimate affairs that have no sort of impact on them. For instance, Sisi Pelebe’s lesbian lover opts to undergo surgery to become a man just so she can be with the woman she loves. Aside the shock value of that revelation from the estranged uncle who wants to run the sword of truth through the hitherto close-knit family – not with good intentions however – it feels a bit disconcerting. A critical question to ask, here, would be if a woman who is sexually attracted to other women sees herself as a man or a woman still. Regardless, the motive and idea behind the gender change are easily understood. For Sisi Pelebe’s husband (the mother’s nickname due to her skinny frame when she was little, caused by her refusal to eat well), if changing her appearance to a man is all it takes to be together with her lover in the hateful society they find themselves, then it is a small price to pay.

Though appearing convoluted, the plot stays the course all through and the end makes perfect sense when viewed through the lens of the beginning. What seems to be a casual touch from a brother conveys an entirely different meaning in the wake of a revelation. It is more like peeling an onion, one layer of secrets revealing another, each slightly more shocking than the preceding one and while seeming unkind to one’s accelerating heart rate, the script mercilessly plays out, riding the rollercoaster of curiosity to the peak. The costume, party clothes, fits the setting, creating the impression of a family celebration going on outside the house."
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"All the while, the audience is being led by a ‘light-bearer’ who with a lamp in the dimly lit space, ensures one only sees and concentrates on specific parts of the play at a time. There might be multiple characters in a scene but because the focus is on a particular event, it gives the feeling of a road trip in time, fumbling around in the dark with certain parts lighting up flashes of history.

The costume adds a touch of surrealism, like one is having an out of body experience in a fantastical dream. Particularly eye-catching is the dance – most notably the performance of the Memory of Movement, symbolizing the agony of dreams repressed into the deepest vaults of the human mind. Also striking is the silhouette dancing seductively to Zayn Malik’s ‘Pillow Talk’, only to abruptly get dressed and get back to her book – an unmistakable visual allusion to our cultural penchant for repressing sexuality like a taboo. Nothing is verbally implied but the message is as clear as day; what we repress is bound to simmer below the surface, waiting to be let out consciously when the opportunity arises or unconsciously, without warning."
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"“Destination Dubai” was an expensive but pointless sequel. Unlike its predecessor, it was unable to parlay a basic and uninspired script into a mildly watchable movie. Much like destination weddings, it was more about flash than substance. If both movies were to be a couple, the floundering pointlessness of the sequel would be a certifiable ground for divorce."
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