I Am Not a Witch (2017)

Rife praises the film as a spellbinding, bone-dry satire, though its final third becomes repetitive. She singles out Maggie Mulubwa’s restrained performance and Nyoni’s bold, formally ambitious direction.

The review praises the film’s deft balance of comedy and tragedy while emphasizing its critique of women’s exploitation. It singles out Maggie Mulubwa’s restrained performance as key to making Shula an empathetic figure.

Turan praises the film as an audacious, smart, and savage satire with a dramatically involving story. He singles out Rungano Nyoni’s assured direction and the strong performance by young star Maggie Mulubwa.

O’Sullivan finds the film gripping and buoyant despite a weak performance from the government official. She especially praises Maggie Mulubwa’s restrained portrayal and the witches’ vivid presence.

Wardle finds the film exhilarating and humorous, but says its sparse storytelling leaves viewers adrift near the end. She praises its striking visual compositions and costume design.

The review is positive, praising the film’s droll satire and its exposure of clashes between tradition and progress in modern Zambia. It also notes a sombre denunciation behind the comedy.

Smith presents the film as a sharp-edged, startling fable about Zambian society. She praises its magical-realist approach to gender and superstition, seen through a young orphan’s eyes.

Dalton finds the film a hugely charming, spellbinding debut, while noting that its elliptical approach can make the story incoherent. He praises its striking visual style and inventive use of music.

The capsule presents Nyoni’s film as confrontational yet empathetic, with a largely positive verdict. It praises the powerful symbolic images Nyoni draws from the oppressive setting.

Catsoulis gives the film a positive verdict as a darkly comic, unsettling satire. She singles out its sharp treatment of the persecution and control of women.

Graham finds the debut a fiercely original satire that rewards viewers willing to embrace its arthouse pace. He praises its striking imagery and deadpan humour, while noting that some satire feels scattershot and heavy-handed.

The critic presents the film as an arresting debut. She singles out its setting in and around Lusaka, Zambia.

The critic finds the film an original, charming satire, though its languid pacing and unclear storytelling sometimes frustrate. They single out Henry BJ Phiri’s performance as the officious, incompetent official for particular praise.

Kiang finds the debut intriguing and invigorating, though at times too chaotic and difficult to follow. She especially praises David Gallego’s cinematography and its exploration of the film’s white streamers.

Wilkinson finds the film sharply funny and emotionally affecting in its satirical critique of sexual politics. She particularly praises the bobbins as a fairy-tale-like metaphor that becomes sinister on reflection.

Goodwin finds the film absorbing but flawed, arguing its satire weakens its treatment of serious social issues. He praises Margaret Mulubwa’s performance and David Gallego’s cinematography.