n an era saturated with visual imagery, where cell phones wield cameras and misinformation taints our perceptions, the art of storytelling faces a critical test. Do we, amidst the chaos, retain a sensitivity to the present moment, or are we consumed by our own narratives, blind to the world around us? Do we challenge ourselves to seek deeper truths, or passively accept what we are fed? These questions prompt us to ponder: who will step forward as a witness and narrator? Artists, writers, filmmakers and journalists shoulder this responsibility, weaving narratives that demand moral courage. Speaking for the voiceless, championing justice and peace and striving for a more equitable society require the courage to confront truth, no matter how uncomfortable it may be.

In the labyrinth of contemporary ideologies, where scepticism looms large, the endeavour of artistic creation emerges as a formidable task. It forces a re-evaluation of the very foundations upon which interpreters — artists, writers or filmmakers — construct their cultural narratives. At its core, the role of cinema in deciphering a society for another is about its capacity to broaden our comprehension of the diverse tapestry of human societies.

Entrenched within the intricate fabric of social networks and institutional norms, power dynamics wield immense influence over our collective consciousness. Rather than relegating films to binary classifications of “political” or “non-political,” the imperative lies in crafting films imbued with political consciousness.

A politically conscious film serves as a beacon, illuminating the contours of oppression and challenging the prevailing societal norms. It lays bare the covert mechanisms of subjugation and interrogates the entrenched values that dictate societal norms down to the minutest detail. In this realm, the cinematic ethos is intrinsically entwined with its political underpinnings. The films discussed here serve as poignant reminders of this ethos, urging us to embrace cinema as a vehicle for political consciousness.

At a recent screening of two short films - one fiction, the other non-fiction - both set in Kenya, I was in conversation with the 24-year-old budding filmmaker Kiana Rawji, an award-winning South Asian Muslim filmmaker from Canada, who recently graduated summa cum laude from Harvard, where she studied film, history and literature.

One of films was a documentary, Mama of Manyatta — screened at the 2023 Pan African Film Festival in LA, Essence Film Festival in New Orleans and Zanzibar Film Festival where it was awarded a Special Jury mention. It was about an extraordinary woman fighting HIV/ AIDS and gender-based violence in a slum in Kisumu, Kenya. The other was a fictional film called Inside Job about an Indian housewife, her African domestic workers and a plot for jewelry theft set in the 1970s’ Nairobi. The film premiered at the 2023 Chicago South Asian Film Festival and was screened in 2023 at the Aga Khan Museum in Toronto.

In my perspective, Kiana embodies the essence of an accidental filmmaker. Asked about her journey into the world of filmmaking, she said: “I thought I would study law at Harvard, but quickly realised that my heart was in the arts. In my first year, I took a film class called Social Justice and the Documentary Film, taught by filmmaker Vivek Bald. It opened my eyes to film as a new, provocative way to engage with social issues I cared about and create empathetic links to seemingly distant stories.”

She reminisced, “I made my first short film in that class and loved every part of the process. Something just clicked for me. I realised that this was what I wanted to do. I haven‘t looked back since.”

In the genesis of Inside Job, Kiana embarked on a narrative odyssey rooted in oral histories and profound inquiries into the South Asian diaspora’s dynamics in East Africa. Reflecting on her upbringing in Canada and the stark juxtaposition with her familial heritage, she unveiled a quest to unearth the intricate tapestry of racial tensions and identity nuances. “I aimed to confront entrenched notions of belonging and reveal the undercurrents of racism within the South Asian diaspora,” she reflected. Drawing on immersive research and candid dialogues with individuals from diverse backgrounds, Kiana delved deep into domestic narratives that would ultimately shape her cinematic world. “Each aspect of the script was derived from real-life stories,” she said, emphasising that genuineness underpinned her creative journey.

In her interviews, theft emerged as a recurrent theme, a poignant motif, symbolic of broader societal anxieties and racialised perceptions. “In the brown imagination, theft became intertwined with notions of blackness, perpetuating deeply ingrained stereotypes,” Kiana recounted, shedding light on the intricate interplay of power dynamics and racial biases. Conversely, narratives from black workers offered poignant insights into their lived experiences, revealing nuanced perspectives on their Indian employers. “My film navigates these microcosms of intimacy and transcends boundaries, offering fleeting glimpses of connection amidst prevailing narratives of division.”

Kiana said, “The culmination of the film, marked by the employer’s gesture of bestowing her worker with a bangle, draws inspiration from poignant tales recounted by South Asians who departed East Africa, bequeathing their possessions to domestic workers.”

Kiana said the editing techniques she used evoked a dream-like quality, fostering ambiguity between reality and illusion. “I intentionally crafted the scene to blur the line between fact and fiction, inviting viewers to grapple with the enigmatic nature of the bangle’s transfer.“

Her perspective transcends the confines of mere filmmaking as she delves into broader implications of historical reckoning and familial bonds. “The departure of Indians from East Africa marked a pivotal moment of introspection. The legacies of colonialism resurfaced, confronting both brown East Africans and their benefactors.” Through the denouement, Kiana envisioned a realm of possibility and reflection, where the symbolic act of gifting away a family heirloom transcends conventional notions of familial ties.

“Interpretations of the bangle vary widely, ranging from symbols of familial connection to expressions of remorse or remnants of diasporic legacies,” she concluded.

Mama of Manyatta offers profound insights into the concept of resistance amid the battles against HIV and gender-based violence. In a poignant scene, the protagonist, Phelgone, imparts crucial knowledge to young girls on the use of female contraceptives as a means of defending themselves against post-election sexual violence. While some may question this focus on prevention rather than directly going after the perpetrators of violence, Phelgone, recognising the incremental nature of societal change, emphasises the significance of providing women with tools for self-protection in their daily lives. The film poignantly captures the essence of resistance through resilience, joy and dignity. Despite bearing witness to profound trauma and guiding others through their healing journeys, Phelgone exudes an unyielding spirit of resilience and hope. Through the mediums of song, dance and prayer, she fosters a sense of joy and strength wherever she goes, infusing the narrative with a tangible aura of optimism and empowerment. Mama of Manyatta is a testament to the transformative potential of resistance, embodying the enduring spirit of those who bravely navigate adversity with grace and determination.

“I wanted her spirit of joy and strength to permeate the film,” says Kiana.

I said race seemed to be a central theme in her work and asked how she perceived race and how it influenced her creative process. Kiana said, “During my time at Harvard, I took a class on American slavery, exploring the writings of scholar Barbara Fields. Her insights not only shaped my scholarly pursuits but also influenced my artistic endeavours. I came to understand that race is a construct, perpetually shaped and reshaped in our lives. While it may not possess tangible reality its ramifications are undeniably tangible. Failing to acknowledge race or disregarding its significance — such as the oversight in Canada’s healthcare system regarding racial data collection — fails to address the disproportionate impact certain issues have on marginalised communities.

“My films confront the consequences of race — the interpersonal constructs we uphold and the systemic oppression ingrained in the society. Whether portraying life in the slums of Kisumu or within the confines of 1970s Nairobi, the shadow of racial implications looms large. It’s about navigating the aftermath of racial discord in our societies.”

An Australian film scholar once posed the question: What should we ask of documentary filmmakers? The answer must be that we expect the filmmaker to seek the truth, to attempt to achieve alethia, the reason for things; a full disclosure on all things. In these two powerful works, Kianna does not disappoint us.

The author, a critic and writer, splits his time between Toronto, London and Geneva