Kenya’s first submission to the Academy Awards was fairly recent. In 2012, they submitted Nairobi Half Life (2012) for the 85th ceremony. Since then, the Kenyan film industry continues to experience significant growth in independent films that exist outside of a typical Hollywood lens. Mvera (2023), the nation’s eighth submission to the Oscars, is evident of that. 

Although not without its faults, the film is a solid entry from debut-feature film director Daudi Anguka and is a creative, unflinching story that launches the Kenya film industry to new heights. 

Mvera reimagines the story of Mekatilili, a historic Kenyan figure that led a rebellion against colonialist violence during British occupation. It draws upon the resilience and determination of the activist to shape the film’s heroine– the titular Mvera– as she confronts modern-day slavery in the form of organ harvesting. 

The film is without a doubt feminist and avoids falling into stereotypical female-empowerment tropes that would feel inauthentic and unrealistic. Our heroine is not presented as an unattainable, perfect female figure. She has faults. She is selfish.  The audience’s early introduction to her shows her stealing an opportunity to go abroad from another woman. The victim wails as Mvera maintains a strict resolve. This action, although wrong, introduces the audience to the determined and fighter nature of the character. This will be key as she faces more tribulations throughout the film. 

Unfortunately for Mvera, karma has other plans for her. The promised trip abroad is a manufactured lie told by a wealthy man within their village. His operation coerces youth to his estate where they fabricate a story that he will send them abroad for work to support their families. In reality, each individual has been trafficked and their organs are entered into an auction. Slowly, each character is sold and killed. While Mvera awaits her fate, her suspicions of what is actually occurring grow. 

Mvera’s initial desire to go abroad is rooted in following in her mother’s footsteps. Her mother had participated in the same experience years prior, but never contacted her family again. Mvera is desperate to hunt her down and her inquisitions about her mother eventually lead her to discover the dark reality around her. 

The film’s progression can be somewhat jarring as we discover the truth alongside Mvera. The realization that the characters are being trafficked and auctioned off for their organs is startling., Despite the tension the film has been building, it. It still comes as a complete surprise. However, a part of what made this twist so shocking to me is no doubt the fact this is not an issue I am confronted with regularly, nor have I felt the extreme pressure of poverty that could drive someone to take a risk like the characters in this film are prepared to do for their family. 

As the title suggests, Mvera is the heart of this film. The character is subjected to many trials and tribulations which, without a strong lead performance by Linah Sanda, would cause the film to completely lose momentum. Her character must go through a journey of realizing her mother and friends have been murdered, her own life is at risk, and the larger reality that her people have been fed false promises and exploited. 

The film begins with Mvera’s selfishness, hurting others for her own gain, and ends with her risking her life for justice for her people. It is a compelling arc, made even better by Sanda’s grounded portrayal of the character faced with unimaginable horrors.

Mvera opened my eyes to the modern-day exploitation prevalent in Kenyan society. While the aspect of organ trafficking seemed to be an unimaginable fictional horror to me, it is in reality a growing industry across Africa, targeting the vulnerable. The film manages to relay this without objectifying those in poverty. Despite the unique challenge this specific community faces, the film never creates a superficial imagining of the village, which is in credit to Anguka’s work behind the camera. 

If Hollywood attempted to make a film like this, depicting the harsh reality of modern-day slavery, it could easily create a caricature and misrepresentation of Kenya. We’ve seen this in films centered around African poverty and culture, such as the major motion picture Blood Diamond (2006). Mvera and other films by African filmmakers offer a pathway for audiences to challenge stereotypical notions and view Africa not just through a western prism.

This is not to say Mvera is a perfect film. There are D.I.Y. aspects of the film that pull you out from the story and its pacing struggles at times. Unfortunately, not all the characters are as well written as Mvera. Most notably, the film’s main villain Mr. Thabiti feels cartoonishly evil. The film attempts to give his character depth through his relationships with his wife and mother, but they become one-note characters incapable of emotions beyond bitter resentment or sexual desire.

Nonetheless, its flaws can be overlooked as you fall into the entertaining yet thoughtful tension the film weaves. Mvera is a promising debut feature, indicative of a growing industry that leaves us eager for more.

Review Courtesy of Kam Ryan

This review was submitted for the Third International Feature Film Festival.

Image Courtesy of AR Films Production