Atmosphere is everything in cinema. It’s one of the reasons the theatrical experience endures, even in an era dominated by streaming platforms. For Philit Productions’ new film Makosa ni Yangu, screened to an audience of six thousand from diverse walks of life, the atmosphere was nothing short of transformative. Bookended by Abel Mutua’s one-hour narration and a concert, the electrifying energy elevated the film in a way I had never quite experienced before. As waves of laughter and amazement echoed through the hall, mingling with visible discomfort during heavier moments, Makosa ni Yangu found a rare middle ground: entertaining its audience while shedding light on gender-based violence in a way only it could.
The film tells the true story of Nafisa, a woman who flees to Nairobi in search of a better life, only to end up in a brothel She is later rescued by a seemingly charming wealthy man, Saint, who showers her and her family with everything money can buy. However, their fairy tale soon unravels as Saint reveals himself to be an abusive, egomaniacal tormentor. One viewer aptly described it after the screening: “It’s giving Beauty in Black meets Fifty Shades of Grey.” And rightfully so. This is a story that has been told many times before, most recently by Tyler Perry, and even Single Kiasi finished its third season with a similar plot. Yet with Makosa ni Yangu, the truer elements of this familiar story come to light with a unique approach in the pacing and dialogue, making it a rather compelling retelling.
First narrated by Abel Mutua on his popular Mkurugenzi YouTube channel, the script begins unevenly, with an action scene that feels out of place and a hasty shift from the rural backstory to Nairobi’s darker underbelly. However, when it does find its footing – building the romantic core and weaving in comedic moments before the heavier themes take root – Makosa ni Yangu perfectly paces the rousing and intimate moments between its characters. It lingers on scenes just long enough, with engaging back-and-forth dialogue that draws you into the narrative.
Directed by Michael Munyoki (Click Click Bang) and Mkaiwawi Mwakaba (4Play), and produced by Denise Kibisu, the film’s production design meticulously reflects the characters’ shifting moods. From a motorcycle chase to stark depictions of low-income coastal neighbourhoods juxtaposed with opulent Nairobi mansions, and even a dungeon reminiscent of Fifty Shades’ Red Room, Makosa ni Yangu presents a visually dynamic canvas. Smoky interiors, a rich colour palette and deliberate camerawork imbue every scene with energy and atmosphere.
Lead actors Melissa Lesilale (Nafisa) and Pascal Tokodi (Saint) share palpable romantic chemistry, and athough Tokodi struggles to fully embody the menace of his villainous character, he pushes himself admirably, capturing just enough to remain convincing. Portraying Nafisa’s mother, Beatrice Kamuyu stirs the perfect amount of loathing from the audience, while the comedic duo of Abel Mutua and Sanaipei Tande provides much-needed levity.
As a film delving into the dark realities of gender-based violence, Makosa ni Yangu spares no detail in depicting the psychological and physical toll of abuse. It examines the inherited justifications that perpetuate it, the thoughtless proclamations that nurture it, and the traumatic mannerisms bred within abusive households. From the opening scene to the last frame, the film is intent on articulating this unsettling reality – unfortunately, sometimes at the expense of examining its own place in the cycle of violence. The humanity of its thematic villains—both the perpetrators and their enablers—shifts in and out of focus. For instance, one abusive father is forgiven while another is avenged solely based on the memories of their children. Even for its victims, despite the film’s clear stance of reclaiming stolen power, there is an underlying sense of powerlessness in the message it vehemently tries to convey, especially in moments of deliberate inaction by the characters in ending the cycle of abuse.
All in all, Makosa ni Yangu surprised me in all the right ways. Whether the electrifying energy of its large crowd can translate to a smaller cinema or a personal screen is uncertain, but it’s a discovery well worth pursuing.
Makosa ni Yangu is now streaming on Philittv.
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