Opening her introductory remarks for Zola, director Janicza Bravo recounted how she attended Sundance Film Festival for the first time years ago as a guest of a guest, “a side, like beans”. The two films she saw then were at the Library and the Eccles Theater. The next time at Sundance, she was screening one of her own short films, which premiered at the Library. Now, her third time at Sundance, she is screening her second feature film, Zola, which had its premiere at the Eccles Theater today. One thing is clear: this woman is on her way up.
Zola is a film based on a Twitter thread by a woman called A’Ziah King, who also goes by the name of Zola. In this, she tells a story about how she met this white bitch at Hooters… and how they go off on a crazy adventure to Florida that involved dancing, sex work, a violent Nigerian pimp, coercion, someone getting shot, and more.
If you’re not familiar with the story or the tweets, I hear you thinking: that’s some grim ass material. But Zola is light, and funny throughout, and exactly in the same tone as Zola originally conveyed the story in her tweets. The film could easily have been a Requiem for a Dream if it had been adapted by someone else; this film, however, has a vibe more like a female Fear & Loathing in Las Vegas, but set in Florida, and without the drugs. And yes, the comparison to Hustlers is going to be made, but that’s just because there’s strippers – in my eyes, there’s very little else to compare. Other than perhaps the extent to which all actors involved gave it their absolute all.
A Friendship That’s Not A Friendship
Taylour Paige stars as the titular Zola. Paige, a lifelong professional dancer herself and performes the dance scenes in Zola with seeming (and enviable) ease. She also convincingly conveys the “black-woman-in-a-situation-that-she-doesn’t-want-to-be-in-but-doesn’t-have-a-choice death stare” – Zola is smart despite what you might think of the way she speaks or where she’s from – she knows what’s up, she knows she doesn’t want it, and she won’t have it – and all of this Paige portrays with heart and conviction. Opposite her is Riley Keough as Stefani, who fully commits to a blaccent and a couple of scenes that other actresses would’ve probably passed on. Her character really is not likeable, but that doesn’t make Keough‘s portrayal any less admirable, in fact, the opposite is true.
Central to Zola is the “friendship” between Zola and Stefani. They get off to a great start, have a great (hilarious) “I see you!” moment as they connect over things they have in common, but soon Zola finds that Stefani really isn’t all that friendly, or all that honest. Reading this film from a black woman’s perspective, and the way that Stefani is actually rarely addressed by her name but rather as “white bitch”, or just “bitch”, it’s pretty clear what Zola thinks of this woman.
Rounding out the quartet of core characters are Nicholas Braun as Derrek and Colman Domingo as X, the Nigerian pimp. Derrek as Stefani’s dumb, naive boyfriend is utter, ridiculous fun, although his comedic relief is laid on somewhat thick at times (comedy between Stefani and Zola feeling less forced), and Domingo, as he admitted after the screening, just had a whole lot of fun portraying this loathsome figure.
“A Love Letter To The Internet, Phones, and Social Media”
In the post-screening conversation, director Bravo mentioned that the film is like a love letter to the internet, phones and social media. This is palpable throughout the film. You can tell from the way the characters read their texts out loud as they are writing them (pretty much taken 1:1 from Zola’s original tweets), the way each scene at least has a few screens in it, the way Derrek tries to cheer Zola up by showing her a shitty meme – or even how certain scenes are edited. Scenes are often awkwardly cut short – as if someone just lost their attention and went back to look at their phones.
Another interesting directorial choice is when Stefani is allowed to tell the story from her POV – she says she’s a “Christian who fears God”, dressed in a pink suit, just missing the pearls. Her scene ends with the “film” burning. A literal burn, but like an Instagram filter, because no real film was involved here.
The music composed by Mica Levi is entrancing, melancholic followed by uplifting – especially notable is the dark synth whenever the characters move to a different location by car, like a frenzy that’s being beat up through a haze, warning of us dangers ahead. The sound editing is equally excellent; a scene early on mutes all sound except the bouncing of a basketball, the beat of the bouncing ball in tune with Zola’s increasing regret of agreeing to this road trip to Florida.
Zola: Conclusion
Originally, this film had James Franco attached to direct, produce and star, but it was shelved after his sexual misconduct came to light. Bravo was soon announced to replace Franco, and I’m glad. I am glad this story, the experience of a black woman, was translated to the screen by a black female filmmaker. Zola as a character feels genuine; the story has heart, it is funny, it’s definitely crazy, and it portrays Zola and Stefani’s world with empathy. Sex scenes are honest if blunt, and what little female nudity there is is appreciative rather than objectified. Also, prepare yourself for some serious full frontal phalli. Talk about diversity.
Zola, A’Ziah King herself, appeared on stage after the screening, along with the creatives. In her words, the team “nailed it”. I agree.
Zola premiered at Sundance Film Festival 2020 on Friday January 24th. No current release date is known but knowing A24, we’ll find out soon.
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