Cotton Queen
Set in a Sudanese village where harvests and histories are deeply entwined, Suzannah Mirghani’s Cotton Queen straddles parable and political fable. The camera captures the luminous beauty of the cotton fields, where villagers, almost always dressed entirely in white cotton, move like living threads through the rippling fabric of the crops. Nights are lit not by fluorescent bulbs but by the soft glow of moonlight and fire, while insects drift and land freely, reinforcing the film’s intimate, natural rhythms.
15-year-old Nafisa (Mihad Murtada) grows up under the towering presence of her grandmother, Al-Sit (Rabha Mohamed Mahmoud), the titular matriarch who occupies the centre of the family courtyard as a fixed point around which everyone orbits. Al-Sit watches over the village’s cotton fields like a priestess guarding sacred ground, her legendary tale of killing a British general retold and reshaped by both herself and others to ensure she remains at the heart of the village’s imagination. Her authority extends beyond agriculture into the spiritual: survival depends on the careful preservation of tradition, both in the purity of the cotton seeds and the girls who pick them. Yet she is far from austere: with her granddaughter, she laughs and conspires, sneaks spoonfuls of sugar despite her diabetes, and teases her daughter-in-law’s cooking. These flashes of mischief cement her control not through respect alone, but through the intimacy and kinship of a tight-knit community.
When her reign is challenged by Bilal (Mohamed Musa), a businessman and diasporic heir arriving from London with genetically modified cotton seeds and a familiar blueprint of modernisation, the village’s delicate equilibrium begins to tilt. His decision to take up residence in the master bedroom of the crumbling colonial mansion – the very site of Al-Sit’s supposed triumph over the General – is a symbolic coup that positions himself within the architecture of past power while dangling a vision of the future that bypasses the old queen entirely. Avoiding the easy binary of tradition versus modernity, Cotton Queen unveils a world where myth, authority and the everyday are tightly interwoven. Its real tension lies not in taking sides, but in navigating the tangled threads of past, present and future – threads Nafisa must stitch into a fabric she can finally call her own.
Christina Yang
Cotton Queen does not have a release date yet.
Read more reviews from our Venice Film Festival coverage here.
For further information about the event, visit the Venice Film Festival website here.
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