One Woman One Bra
Witty in dialogue with plenty of depth to cover, One Woman One Bra is an interesting commentary on performative activism amidst one woman’s battle to keep her home. It follows Star, an orphan whose whole world is tethered to the land where she resides, facing the possibility of eviction when deeds are handed out for the people of the Kenyan village of Sayit to legally claim their land – the caveat being inheritance and ancestral ties. That leaves her with only a few choices: find where she comes from, marry someone, or raise enough money to buy her land. The film by Vincho Nchogu initially presents itself as an autopsy of women’s agency and an exploration of identity, but it’s more of a personal journey of friendship and community, and a reclamation of cultural narrative.
Sarah Karei’s performance as Star is charming and layered. There’s plenty of sympathy for her predicament, but Karei maintains the rough edges of the character – her selfishness, crass decision-making, and hypocrisy – dutifully reminding viewers that Star is not the perfect protagonist. This grounded take is what draws the audience in, touching on the multifaceted nature of humans and reinforcing the notion that sometimes there’s no good or bad in people, only the choices they make to survive. Karei’s blunt delivery and sarcastic facial expressions add a comedic layer to Star, elevating her moments of weakness and vulnerability, accentuating the mask of bravery she wears and the deceit within her character. All this combined endears those watching to Star – even in her worst moments, one can’t help but root for her.
The themes covered are bountiful, touching mainly on exploitation and consent, especially when it comes to image and likeness. Star’s story doesn’t begin at the start of the feature, but years earlier, when a white photographer came to the village and took her picture, which later landed on the cover of a magazine. Star reaps no financial profit from this artistic endeavour, and this phenomenon later comes full circle when she makes her mini advertisement titled One Woman One Bra, leading to a misunderstanding that further separates her from the already hostile environment created by the other townswomen. The concept of consent, particularly regarding one’s image, is an interesting parallel to women’s autonomy – specifically in Star’s struggle to maintain her land without relying on ancestry or marriage.
But Star’s story, beyond its feminist angle, is impactful because of the emotional weight tied to her journey of finding who she is and where she belongs. This constant fight for her place is the most striking aspect of the picture and one that will undoubtedly create attachment for viewers. On top of that, there’s the sharp dismantling of the white saviour complex: the tone-deaf approach towards helping women and people in need while also patting their backs despite making little to no valuable difference in these people’s lives. This stark underlining of self-serving good deeds is stomach-churning and becomes the main target of the film’s satiric humour.
Visually bold in warm vibrance and colour, with a special focus on the everyday domestic life of the villagers, One Woman One Bra maintains the humanity of its characters – whether that’s Star, her friends, or the villagers who ostracise her. It’s an atmospheric piece with plenty of nuance in the topics it covers. A poignant film of self-discovery in adulthood and finding community, it elicits sudden laughter from the audience and an abundance of tears.
Mae Trumata
One Woman One Bra does not have a release date yet.
Read more reviews from our London Film Festival coverage here.
For further information about the event visit the London Film Festival website here.
Watch the trailer for One Woman One Bra here:
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