Thoughts on 28 Years Later: The Bone Temple

    In January, I went to see 28 Years Later: The Bone Temple, a 2026 post-apocalyptic horror film directed by Nia DaCosta and written by Alex Garland. The film is a sequel to 2025's 28 Years Later, as part of the 28 Days Later film series, originally directed by Danny Boyle and written by Alex Garland. The films were produced back-to-back in 2025.

    I have only seen 28 Days Later, and have not seen 28 Weeks Later or 28 Years Later, so I don't feel like my review can be fully accurate of the series. But I knew the basic plot of 28 Years Later, which focuses on a family trying to survive in the post-apocalypse of the Rage Virus, an infectious virus which makes people act like rabid zombies. The Rage Virus had been successfully driven away from continental Europe, but was still active in the British Isles, leaving the countries in quarantine with few survivors. The story centered on the parents Jamie (Aaron Taylor-Johnson) and Isla (Jodie Comer), and their 12-year old son, Spike (Alfie Williams). Jamie and Spike hunt the Infected, and through the story, they meet Dr. Ian Kelson (Ralph Fiennes), a survivor who has created the Bone Temple, an ossuary he has constructed out of clean bones of both fallen survivors and the Infected, paying tribute to them in a respectful temple for them. Spike loses his mother to cancer and is separated from his father, and is picked up by a cult led by Jimmy Crystal (Jack O'Connell), who are all dressed in blonde wigs and tracksuits to emulate Jimmy Saville, the late British TV host, whose sex offender crimes were discovered after his death in 2011.

    In 28 Years Later: The Bone Temple, Spike is forced to kill one of the cult members, who all go by the name Jimmy, in a death match as part of an initiation. Jimmy Crystal is charming but manipulative, and has no problem turning his followers against each other to prove their "loyalty," and is a Satanist, referring to Satan as "Old Nick." Spike, now renamed Jimmy, is horrified by being pushed to kill, but feels trapped and has no choice but to stay with the group for survival.

    Dr. Ian Kelson continues to build the Bone Temple, as a meditative ritual, paying tribute to humanity, and listens to Duran Duran records in his home, playing songs like "Girls on Film" and "Ordinary World," with pictures from his past life on the wall pre-apocalypse. One of the Infected, Samson (Chi Lewis-Parry), who Dr. Kelson had sedated in the previous film with a morphine cocktail via blow dart, comes to visit him, becoming addicted to the morphine and finding calm and peace while sedated and sitting with Dr. Kelson. Over time, Dr. Kelson realizes that Samson is understanding that he is not a threat, and is coming of his own free will for the drugs to have peace, and that he may be finding his own humanity again. Samson grunts and makes sounds, but doesn't speak, but shows understanding, seeing Dr. Kelson as a trusted friend. But Dr. Kelson knows that his morphine supply will be running out in two weeks, and is testing to see whether he should euthanize Samson for his own well-being or if he can be cured of the Rage Virus.

    The film progresses with a lot of gore, as Jimmy Crystal leads his cult to murder people with knives, and Spike continually throws up at being sickened by the mayhem, with Jimmy Ink (Erin Kellyman), befriending him and trying to protect him while being honest about who they are. 

    It's a really interesting horror film that has a lot of violence, but makes room for character development, and I not only enjoyed the sympathetic performance of Fiennes and the sadistic performance of O'Connell, but I especially liked the performance by Lewis-Parry, a stuntman and martial artist who delivered a largely wordless performance with his physical acting as Samson, a giant of a man who, through being medicated by morphine, is learning to find himself as a person again after being consumed by the virus for years. He is also nude in several scenes in the film, and him wearing clothes again is part of him becoming a person and not a bloodthirsty creature.

    The climatic finale features a song that has been largely associated with Satan, but is used to expose the lies of Jimmy Crystal, as well as to protect the children who have been controlled by his evil influence. Dr. Kelson himself is an atheist, but still has faith in community, and is against the use of religion as a weapon by others. I give credit to my friend John Arminio, who covered these topics more deeply in his Letterboxd review of the film.

    I've been a fan of Nia DaCosta since her film Little Woods, and have enjoyed seeing how her success as a director, and as a Black female filmmaker, has risen over the years, with her work on the Candyman remake, The Marvels, Hedda, and this film. Her and Alex Garland brought a lot of care to this film, and combined the horror gore with empathetic looks at the human experience.

Thoughts on The Secret Agent

    On Monday, I went to the Village East Cinema to see The Secret Agent, a 2025 Brazilian political thriller written and directed by Kleber Mendonça Filho. The film stars Wagner Moura as a former professor and widower named Armando Solimões living in Brazil in 1977 under a fascist state, who moves back to his hometown of Recife under the assumed name of Marcelo Alves, working in an identification card office and reconnecting with his son Fernando (Enzo Nunes), who is being raised by Armando's in-laws. He befriends other political dissidents while staying in an apartment building run by anarcho-communist Dona Sebastiana (Tânia Maria), like Claudia (Hermila Guedes) and Angolan Civil War refugees Thereza Vitória (Isabel Zuaa) and Antonio (Licínio Januário). There is a two-faced cat, a Janus cat, who could be seen as representing Armando's duality between being himself and being Marcelo, or the cat's resilience in living in a tough environment. 

    The film opens with a darkly humorous sequence where Armando stops at a gas station, and sees a dead man's body with cardboard covering his face, about 20 feet away in the parking lot from the gas station. The gas station owner explains that he got shot and killed in an attempted robbery during the night, and that he called the police, but they're busy with Carnaval, so the body is just lying there. Stray dogs try to come at it, and the gas station owner shoos them away. Then cops show up, but aren't there for the body, but are investigating Armando's car, searching it for drugs or any kind of contraband. When they don't find anything, one asks Armando to make a donation to the police, like trying to extort money from him or as a bribe, and instead Armando says he spent his last dollars at the gas station, and gives them his cigarettes instead. It's the kind of world where the police can operate with corruption under a fascist system, and Armando is trying to survive in this crazy world, and knows that if not money, then cigarettes will buy them off for awhile.

    The film is broken up into chapters, and follows many side stories, like when the corrupt police chief Euclides (Robério Diógenes) and his sons Sergio (Igor de Araújo) and Arlindo (Italo Martins) are called to investigate a severed human leg that has been found inside of a tiger shark. The leg makes news, and becomes the subject of absurdist stories meant to cover up actual crimes by the police state, like claiming the "hairy leg" kicked gay men who were out cruising at a public park at night, when in reality they were most likely being harassed and beaten by the police for being gay.

    Violence touches everyone's lives or is in the backdrop, like how a wrapped-up body in a car trunk is tossed over a bridge, and is supposedly a young woman who was murdered by her fiancé for being accepted into a scholarship program in Germany. Or when Chief Euclides, who has taken a liking to Armando, brings him along to see Hans (Udo Kier), a Jewish tailor who Euclides thinks was a Nazi, making him show his scars despite that everyone is visibly uncomfortable with Euclides' behavior, and Armando is annoyed by his stupidity and boorishness. Hans, in one of Udo Kier's final roles, yells at Euclides in German, knowing he can't understand the language, and has a menorah right by him, which Euclides doesn't notice out of his own ignorance.

    The film uses a cinema and popular 1970s films as a backdrop, where the Cinema São Luiz, where Armando's father-in-law Sr. Alexandre (Carlos Francisco) works as a projectionist. Jaws and The Omen play at the cinema, and both were blockbusters of the day, and Fernando is fascinated by Jaws and wants to see it, but Armando feels he's too young, knowing he gets scared just from the poster. And The Omen causes people to feel like they're possessed, having exaggerated reactions to watching a film about the devil in a predominantly Catholic society. The cinema is also where the journalist and political resistance activist Elza (Maria Fernanda Cândido) meets with Armando to tape her interview with him about why he's working as a political dissident and his past as a former professor.

    This film was really fascinating to watch, as a 1970s-set political thriller, and is timely with the current fascist state of the United States at this time, and seeing past uses of the resistance network with using notes and telegrams and pay phones (to avoid tapped phone lines) to share messages and meet in confidence. The film occasionally cuts to the present-day, where two history students are transcribing the digitized audiotapes of Elza's resistance network and researching newspaper archives, and it's an interesting way of connecting the past and present, including a scene where Elza is interviewing Armando and the theater audience downstairs is screaming at The Omen and the ones conducting the interview hear it, then cutting to one of the present-day history students, Flavia (Laura Lufési), hearing the screams but not understanding the context. As an archivist myself, I enjoyed watching it for the scenes of the present-day researchers doing their transcription work and piecing things together, as well as the period scenes with the analog way of working as resistance fighters.

    Wagner Moura is fantastic in this film, and deserves the accolades that he has received. I had only known him for his role as Pablo Escobar in the series Narcos ten years ago, so it's been fun to see him in a different role and outside of the Pablo look he had in portraying the notorious Colombian drug lord. I really enjoyed Tânia Maria as the 77-year old Dona Sebastiana, the funny and charming den mother of political dissidents, who hints at her past as an anarcho-communist in 1930s-1940s Italy, but won't tell further details of her life then, and helps activists live under assumed names and secure fake passports and find safety as a makeshift family. She was an excellent scene-stealer, and has only acted in a few films.

    There's a lot of fascinating details in this film, like how Armando is working at the identification card office in part to find the ID card of his late mother, because he wants physical proof that she existed as a person. Or how two men that are hired to kill Armando are so lazy that they outsource their hit job to a poor man, who takes obvious offense at being referred to as "like an animal." There are many musical needle drops, like Chicago's "If You Leave Me Now" or Donna Summer's "Love to Love You Baby," as well as Brazilian music, including an anachronistic song from 1986 in a scene.

    The film has a foot chase sequence in the finale that was absolutely fantastic and gripping to watch, and that I highly recommend seeing along with the rest of this great film.

Thoughts on The Ugly Stepsister

     On Hulu, I watched The Ugly Stepsister, a 2025 Norwegian black comedy/body horror film written and directed by Emilie Blichfeldt. The film is a take on the Cinderella fairy tale, told from the perspective of Cinderella's stepsister Elvira (Lea Myren), an average looking girl who is pitted against Cinderella's beauty, and is forced to undergo painful and archaic methods of plastic surgery to be seen as beautiful enough to win the Prince or any other rich man. Agnes' (later named Cinderella derisively) father Otto (Ralph Carlsson) marries Elvira's mother, Rebekka (Ane Dahl Torp), but dies quickly afterwards, and each family thought the other had money, but they are broke, and Rebekka is spending money on finishing school for Agnes (Thea Sofie Loch Naess) and Elvira, where the teacher favors the pretty girls, including Agnes, to be at the front of the class and sends Elvira to the back row with the "ugly" girls.

    Elvira is very romantic, and reads love tales supposedly written by Prince Julian, and dreams of being swept up by the Prince, and being made "beautiful" after her braces are taken off and that her nose has healed post-nose job, for which she wears a strap on her face as a bandage for the majority of the film. The nose job is just the doctor breaking her nose with a chisel, causing immeasurable pain to her. She has false eyelashes sewn onto her in a particularly gruesome sequence, and is advised to swallow tapeworm eggs to become thinner, which leaves her with a grumbling stomach sound periodically throughout the film, as a foreboding warning sound inside of her. 

    Elvira is routinely told by her mother and the headmistress that she isn't beautiful and needs to marry a rich man, and Elvira grows envious towards Agnes, whose natural beauty gives her more ease in the world, as well as more suitors, like a stable boy named Isak (Malte Myrenberg Gardinger) who she has a secret romance with. Agnes starts out a little haughty towards her stepfamily, but is otherwise a nice girl, and is forced into servitude by Rebekka, seeing her as competition for the Prince's affections. Agnes is also angry that Rebekka keeps spending money on material goods, and refuses to have a funeral or a burial for her late husband, so his body is rotting in a forgotten room in the home, with flies around him, and Agnes will visit him with flowers, only to be horrified by the sight of her father's decaying corpse.

    Elvira's younger sister Alma (Flo Fagerli) witnesses all of this pain and abuse that Elvira goes through, is horrified that Elvira ingested a tapeworm and is mutilating herself, and is hiding that she got her period and started bleeding, afraid that her mother too will put her through the same torture cycle to be a "woman" and pimped out to a man.

    The film takes the pain and bloodiness of the original fairy tale, like the lengths to which the stepsister will go to to fit the shoe after the Prince's ball, and is a commentary on the restrictive beauty standards of then and today, punishing girls for not fitting the beauty standards and shaming them for going through the painful efforts, and still not getting it as easy as those who are "naturally" beautiful. 

    I really loved how twisted this film was, taking the darker origins of the fairy tale, and creating a sympathetic character in the "ugly" stepsister, while not turning Agnes/Cinderella into the villain and showing how she was victimized too. The ending is at both bittersweet and heroic, as Elvira suffers for her quest for beauty and love, but finds safety with Alma to escape their mother's cruelness at the same time. It's a really fantastic film, and I heard of it through the YouTuber Yhara Zayd on her list of her favorite films of 2025.

Favorite Movies/Performances of 2025

I didn’t think about writing a “Favorite Movies of 2025” list because I didn’t really have much favorites. I watch movies a lot, but didn’t feel like I saw a lot of new stuff that I really loved or adored, so it’s a small list of liking movies or certain performances:

David Jonsson has been a rising talent and standout actor in movies like Rye Lane and Alien: Romulus, and I liked him a lot in The Long Walk. The movie is depressing to watch, but he holds the screen with a lot of ease and star power, and he and Cooper Hoffman had good friend chemistry together.

Rose Byrne was fantastic in If I Had Legs I’d Kick You, in an incredibly tense and uncomfortable drama, and I’m happy she won a Golden Globe for her performance.

Sinners was an excellent film that combined a blues musical with vampires, and was an experience to watch in theaters.

She Rides Shotgun was a fantastic thriller featuring Taron Egerton and the young Ana Sophia Heger, and I was gripped into this film in the theater.

Sentimental Value was a stunning family drama centered on a Norwegian filmmaker (Stellan Skarsgard) and his estranged relationship with his daughters (Renate Reinsve, Inga Ibsdotter Lilleaas), and I liked how layered and interesting it was.

While I was mixed on the storyline for The Testament of Ann Lee, I loved the dance choreography by Celia Rowlson-Hall, and the soprano singing by Amanda Seyfried. Those two elements made the film more memorable and stunning to me.

Jessie Buckley’s guttural screaming and moaning in childbirth and in grief in Hamnet was raw and palpable to my ears.

Austin Abrams’ performance in Weapons made a junkie homeless dirtbag character into an unexpected sympathetic hero, and being better at finding missing kids than the cops were. And Amy Madigan as Aunt Gladys the witch looked like 1970s Bette Davis and was captivating to watch as this weird character.

Sally Hawkins in Bring Her Back was incredible, in taking a character who was obviously disturbed and gaslighting people, speaking in a pleasant voice while being driven insane by grief to hurt others.

I liked how The Mastermind felt like a quiet take on a heist film with a 1970s-set story, with Josh O’Connor as a protagonist who ignores the social news of the day with protests and the Vietnam War, coasting through life, and his lack of awareness catching up with him.

Black Bag was a really tight spy film in 90 minutes with an excellent cast led by Michael Fassbender and Cate Blanchett, and just felt fascinating to me.

Mickey 17 went on for too long, but I did like watching Robert Pattinson play clones and put on affected weird voices and look like he was having fun with the roles.

Final Destination: Bloodlines was stupidly fun to watch, and had a touching and heartfelt sendoff for the late Tony Todd in one of his final roles, in a speech about enjoying life and accepting death.

Sister Midnight (technically from 2024, but in theaters last year) was a really fun, weird dark comedy centering on Radhika Apte's performance as a young Indian woman miserable in her arranged marriage and spiraling into a feral force.

Thoughts on Pearl

     On Tubi, I watched Pearl, a 2022 horror/dark comedy film directed by Ti West, co-written by West and Mia Goth. The film was the second in West's X film trilogy, beginning with X in 2022 and ending with MaXXXine in 2024. X focused on a group of people making a porn film in 1979, renting the farm of the elderly couple Howard and Pearl, and becoming the victims of the couple's serial killer depravity, with Goth portraying both the aspiring young star Maxine and the elderly Pearl. Pearl is a prequel, set in 1918 when Pearl is a young woman, living with her German immigrant parents on a farm, and she is married to Howard (Alistair Sewell), who is overseas fighting in WWI. She resents being stuck working on the farm, when all the farmhands are off in the war, and living with her strict mother Ruth (Tandi Wright) and her paralyzed father (Matthew Sunderland). As the Spanish flu pandemic is ongoing, Pearl's mother insists that she stay close to home, stay masked when going to town, and stay isolated. Pearl wants to be a chorus girl or a movie star, to be a star and travel and live a life of adventure, and her mother, who is also stuck with taking care of her husband as if she is his mother, shuts down Pearl's dreams, wanting her to get her head out of the clouds and be more realistic about life.

    Pearl shows signs of being violent and expressing rage, through killing animals and feeding them to an alligator (named Theda, likely after the silent film star Theda Bara), dancing with a scarecrow in the field and masturbating with it, and bathing naked as a grown woman in front of her infirm father, taking advantage of his lack of speech or movement to express her more disturbing side in front of him.

    On her visit to town to pick up medicine for her father, she goes to the movies, and meets the unnamed projectionist (David Corenswet), who flirts with her and invites her to come by again. She also finds out from her sister in-law Mitsy (Emma Jenkins-Purro), a more upper-class dainty lady compared to Pearl's working-class farm life, that there will be dance auditions at the local church for a traveling troupe, and Pearl is determined to make it into the troupe as a ticket out of her hellhole of a life.

    As the film progresses, Pearl becomes more mentally disturbed, which becomes more evident to others, and the film spirals into Pearl becoming a serial killer and destroying everybody in her life. Despite the film being labeled as horror, I thought the movie was hilarious in a dark way, mainly due to Mia Goth's excellent performance in throwing herself into Pearl's deranged actions. When she dances with the scarecrow, she goes from romantic playful dancing to throwing the scarecrow down and yelling "I'm MARRIED!" When she visits the projectionist, his idea of seduction is showing her an illicit underground porn film (the real-life 1910s stag film A Free Ride), and it felt reminiscent of Taxi Driver, where the character Travis Bickle (Robert DeNiro) is trying to woo a woman he likes and takes her to a porn film on their first date, and she's disgusted by it. But it works on Pearl, and they later sleep together off-screen.

    The film was shot in New Zealand, and the use of the pandemic as the backdrop came from the COVID-19 pandemic of 2020-21. The film opens in the style of a Technicolor film, with big names in old movie trailer script font, and echoes The Wizard of Oz in the farm setting with Pearl dreaming of escaping and exploring a bigger world. The film's final shot of Pearl holding onto a pained smile as the credits roll over her and the music reaches high strings that go from sounding like a romantic triumphant ending to sounding more sinister and horrific was fantastic. The film's cinematography Eliot Rocket looked gorgeous, and I loved how in the finale, Pearl switches from her overalls to wearing her mother's red Belle Epoque dress, looking more old-fashioned and out of time.

    I really loved this film, and Mia Goth should've gotten an Oscar nomination for this incredible performance, especially for her standout monologue scene in which she tells Mitsy, as a practice stand-in for Howard, everything she wants to tell him about why she is the way she is, making a disturbed heroine much more understandable and sympathetic in her difficult circumstances as a character study. While I've heard that X and MaXXXine aren't as good as this film, I would still check them out to complete the trilogy.

Thoughts on 100 Yen Love

     On Tubi, I watched 100 Yen Love, a 2014 Japanese sports drama directed by Masahara Taku and written by Shin Adachi. The film stars Sakura Ando (Shoplifters, Godzilla Minus One) as Ichiko, a 32-year old woman who lives with her parents above the bento shop the family runs. She is slovenly, with long two-toned hair in her face, barely works at the shop, and stays in her room playing video games in sweats. Her sister Fumiko (Saori Koide) has moved back in with her young son after a divorce, and resents Ichiko for her immaturity and laziness, and their bickering comes to a physical fight, and the mother makes Ichiko move out. She finds a night shift job at a discount store, where she is continually pestered by her talkative co-worker, gives food to a dumpster-diving ex-employee, and on her walks, she passes by a boxing gym, checking out Yuji (Hirofumi Arai), a boxer training for his last bout at 37 years old. She develops a shy crush on him, and they eventually meet, go on an awkward date where they walk around a zoo, and has a sort of relationship where he stays with her, they have sex, but aren't an official couple.

    But through his influence, and then being sexually assaulted by her co-worker, she decides to take up boxing, because she wants to feel power and control in her life, and not to be seen as a loser by everyone. So she trains more, and gains more self-confidence in her focus as an athlete, and pushing her coaches to book her a fight so she can prove herself more. The title of the film comes from a pop song that she uses as her entrance song for her big fight.

    I liked the film, especially Ando's performance, and how her character as Ichiko grows throughout the film from being a bored, lazy person coasting in life to finding motivation through her sport and getting out her rage in focused ways. She's really great in this film, and was excellent in Shoplifters as well.

    I really hated that this film put an unnecessary rape into this film, it felt like an ugly punishment for her character, and did not help the story at all, and the story could have been the same without it, it just really pissed me off.

    I felt for Ichiko that she wanted a connection with Yuji, but his character was a loser, too. Not just that he loses his final fight, but that he was clearly taking advantage of her for sex, being rude and dismissive to her, staying in her place while clearly seeing another woman, and he just came off like a douchebag that she should've just dumped.

    Also, when looking up Hirofumi Arai, I saw that he recently served time in prison for raping a masseuse in 2019, so not only is his character scummy, but so is the actor.

    I thought it was a decent film, mostly anchored by Ando's performance than the rest of the story, and only becomes more of a sports film in the second half of the film.

Thoughts on I Am Not a Witch

    On Criterion this week, I watched I Am Not a Witch, a 2017 U.K./Zambian drama written and directed by Rungano Nyoni, centering on a nine-year old Zambian orphan (Maggie Mulubwa), who wanders into a new town and is brought to the police station because she scared a woman and made her drop a bucket of water, thus leading to accusations that the girl is a witch. People crowd outside of the police station, with one man climbing in through the window to make an accusation, even when he gets called out on it being false. The police officer holding her doesn't really believe she is a witch, but has to appease the angry mob who see her as an outsider and a threat. So she is brought to a witch doctor to determine if she is a witch or not, and made to go into a shed to decide if she wants to be a witch or a goat, told that if she decides that she is a goat, she will be killed for meat. She gives in to their accusations, likely out of fear and shame, declaring that she is a witch, and is owned by the government, taken to a camp made up of elderly "witches," who are all bound to posts with long spools of white ribbons (to "prevent them from flying away," but really keeping them captured by their male guardians) and forced into field labor, working during a drought and praying for rain. One of the women names her Shula, which means "uprooted."

    Shula is taken under the guidance of Mr. Banda (Henry B.J. Phiri), a government official who profits off of the women's labor and exploits Shula in police lineups to find thieves, making her point out who she thinks is the culprit, and going by on that. She is bound by the ribbon, with others carrying the spool as she travels by bus on government field trips. Mr. Banda is a talkative character who makes excuses for his exploitation of Shula, including when he brings her onto a talk show and avoids questions from a call-in listener about not enrolling Shula in school or making money off of her with eggs using her name. His wife, Chasity (Nancy Murilo), is revealed to have once been considered a witch, also having worn a ribbon like Shula, but claims that marriage made her "respectable," and telling Shula that if she follows directions and is always obedient, and that she finds a good man to marry her, that she will be "free," too, never mind that she is also being trapped by her husband as well, who seems very comfortable profiting off of women.

    Shula doesn't speak a lot throughout the film, often being cowed into silence or being talked over by adults, and when tourists come to take pictures of the women, tied to ribbons with face paint on, one of the tourists finds Shula hiding and, in trying to cajole her to come out, suggests they take a photo together, still taking advantage of her even when she is clearly in despair. It's clear on Shula's face that she feels trapped, and despite the warmth of the elder women, her face often shows fear and loneliness, with fantastic acting from the young Mulubwa.

    Despite that, I Am Not a Witch is a dark comedy, that shows the conflict between old traditions and modern-day life, like when Shula's trial is repeatedly interrupted by the "Old MacDonald Had a Farm" ringtone that someone didn't know how to mute, or when the elder women receive brightly colored wigs with misspellings on the labels like "Beyancey."

    Film Obsessive's review goes into much more detail about the depiction of Zambia and globalization, and I will excerpt their part here: 

    On the other hand, despite all of his smarmy tone and bossy attitude, Banda isn’t a complete monster. Learning from his talk show debacle, he decides to send Shula to school. She seems very happy among her peers but doesn’t end up staying there for long. The local female tribal leader sees her education as a waste of money and scolds Banda for allowing it. She was visibly afraid that Shula would give her and Banda less revenue while staying out of the camp.

The presence of the female tribal doesn’t show only that higher-class women can be as selfish as their male counterparts. It also touches on the unusual political system of many African countries. In theory, the official recognition of the authorities sanctioned by tradition seems like a good step toward decentralization in post-colonial reality. Zambian chiefs sometimes advocate for progressive causes like the fight against child marriage or the promotion of sustainable agriculture. I Am Not a Witch show the negative side of this phenomenon: the possibility of corruption and cultivating old prejudices. Although news items depict Zambian state officials in a bad light, recent history shows that there are valid reasons for such.

However, it must be noted that Nyoni researched I Am Not a Witch mostly in Ghana, not Zambia. This is one of the reasons why we cannot take the film as a completely accurate picture of Zambian society. It is easy to check that threatening others with witchcraft or accusing people of such practices is a crime in that country since 1914. Certainly, the reality is more dire. Not so long ago, one of the local chiefs complained that courts demand proof of witchcraft from plaintiffs, and some individuals make good money from creating such proof.

    I found this film really interesting to watch, combining folklore, sexism, and modern-day attitudes together in Zambia, with a young female protagonist who is observing everything and feeling powerless to stop it, being surrounded by immature adults controlling her life, and figuring out how to survive it.