When I first learned that Unasemaje?, a short film directed by up-and-coming Tanzanian filmmaker Kelvin Kagambo, would be shown at this year's Zanzibar International Film Festival (ZIFF), my heart raced. There was an understated radicalism to this film that had already sparked discussions within the East African film scene. It had previously been included in DocuBox’s Get Reel series and more recently, it was chosen for the Ngalabi Short Film Festival in Kampala, where it will screen from July 22 to 26, 2025. Watching Unasemaje? left me with more questions than answers, which is precisely the intention. The title, meaning "What do you say?" in Swahili, is a provocation. Yet, ironically, the person at the center of the controversy, Mamu, a young bride-to-be in a fictional coastal town, speaks very little. In one powerful scene, she remains still, almost frozen, while the world around her spirals: elders whisper, a fiancé explodes in anger, and a mother pleads for religious tradition. But Mamu stays silent, wrapped in a quiet that speaks louder than words ever could. Directed by Kelvin Kagambo and produced by Willy Nkyabandi, Unasemaje? is a masterclass in restrained storytelling. It replaces dramatic confrontation with subtle tension, unfolding through body language, long pauses, and unresolved glances. Set in a close-knit coastal village, the film follows Mamu as she deals with a crisis of faith, family, and bodily autonomy after becoming mysteriously pregnant just weeks before her wedding. She claims she has not been with anyone and describes her condition as an "immaculate conception." However, no one seems interested in what she believes. Her fiancé reacts with betrayal, her mother turns to divine explanations, and a trusted mentor organizes a private meeting to address the issue. Kagambo says the inspiration for the story came from numerous conversations and forums focused on the lived experiences of African women. "One of the recurring issues was how women often don't have the chance to make decisions about matters that directly affect their lives, such as when to get married, when to have children, or what careers to pursue," he explains. Kagambo reflects that, as a father to a daughter, he hopes his child will grow up in a world where she isn't sidelined in matters that concern her directly. "Being the main character means being active," he says. "It means having the power to participate in decisions that concern you completely, not just being present, but being heard." He adds, "As a father to a daughter and a brother, honestly, I wouldn’t want to see them grow up in a world where they aren’t the main characters of their own stories." The brilliance of Unasemaje? lies in its use of silence. Mamu's near-muteness is not a mistake, but the entire point. "In the film, Mamu is the main character. But she doesn't say a single word. Everyone around her is speaking and making decisions about something that affects her completely, yet no one asks her, 'What do you say?'" says Kagambo. In the film, the decisions made by Mamu's mother, her fiancé, and Kungwi (mentor) weren't coming from a bad place, "but she was the one who would be most affected. And the simplest way to know whether the decision would be good or bad for her was just to ask her, Unasemaje?" details Kagambo. Visually, the film relies heavily on natural aesthetics, using sunlight filtered through khangas, the rhythm of the sea, and the architecture of old Swahili homes to create a sense of enclosed intimacy. Long takes and careful compositions evoke a quiet tension. Every frame feels like a conversation, even when no words are spoken. "These challenges are very common," Kagambo reflects. "Even during production, we had our own version. We went to Kigamboni hoping to shoot that perfect orange sunrise, but then it rained. It reminded me how life doesn't always align with plans." One of the most remarkable aspects of Unasemaje? is its decision to focus on silence. Mamu's near-muteness is not a technical or narrative error; it's intentional. "We wanted the audience to feel what it's like when everyone is speaking around you, but not to you," says Kagambo. It's a familiar reality for many women, especially in conservative societies where decisions about their bodies and futures are made by others. The early response has been overwhelmingly positive. During the ZIFF screening, filmmaker Nasra Mnaro praised the film for its emotional subtlety: "Unasemaje? doesn't shout to be heard. It simply stares back at you, asking, 'And you, what would you say?'” She added that the most haunting part of the film was how “Mamu's silence stayed with me longer than any line of dialogue.” As the film gains momentum on the festival circuit, it's quickly becoming a topic of discussion about themes often overlooked in mainstream East African cinema: reproductive rights, consent, generational trauma, and the limits of cultural obedience. Kagambo and Nkyabandi's choice to frame these issues within the familiar setting of a Swahili coastal village makes the story all the more impactful. The filmmakers are also challenging what it means to make "African cinema." Instead of opting for drama, action, or overt messaging, Unasemaje? embodies what many would call "slow cinema," letting the audience sit with discomfort, reflect on unspoken truths, and witness a narrative that unfolds like a whisper. Despite its 20-minute length, the film feels expansive. It lingers. It breathes. It dares viewers to confront their own biases and reflect on how many Mamus they've overlooked in their own lives. "Unasemaje? doesn't shout to be heard. It simply stares back at you, asking, 'And you, what would you say?'” shares Nasra Mnaro, one of the attendees during the ZIFF screening. She added, “The most haunting part of the film was how Mamu's silence stayed with me longer than any line of dialogue. It echoed the very real silences so many women are forced to live within.” Festival-goer and university student Juma Said shared a similar reaction: “It's the kind of film that creeps into your conscience. I watched it and thought of my sister, my cousin, my female neighbor, and how often we don't ask them what they truly feel.” Another audience member from neighboring country Uganda remarked, “What hit me was how it used simplicity to talk about complexity. I kept waiting for something big to happen, then realized...aah, it's the silence...silence was the big thing.” Beyond the screen, Unasemaje? challenges filmmakers to explore other issues and use the film as an educational tool. The film has been discussed in university film forums, and there is growing interest in hosting screenings in cities like Nairobi, Kigali, and Kampala. Sometimes, all it takes is a mirror, a quiet one, and the courage to ask, “Unasemaje?” Provided by SyndiGate Media Inc. (Syndigate.info).
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