Director Nikyatu Jusu’s debut feature, Nanny, begins with a potent image. Our main character, Aisha (Anna Diop), is sleeping in bed as water is creeping into the frame, onto sheets. A spider crawls across her face, about to touch her mouth when she starts, finally awake.
It won’t be the last time we see the water, or the spider, as we follow Aisha through her life working for an Upper East Side couple from hell, trying her best to bring her son Lamine (Jahleel Kamara) over to the US from Senegal so they can be together. Water in Nanny serves as a symbol of potent rage and rebirth, carrying both the promise of destruction and transformation. The tension between the two possibilities for Aisha is one of the many elements of Nanny that make it a standout in the horror genre this year. Its focus on Black feminine rage and resilience is what makes it an impressive and unique fable worth watching.
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