“The Convert” is a historical drama about a young woman’s journey from traditional African beliefs to Christianity in late 19th century Zimbabwe. Jekesai, the protagonist, is caught between two worlds as she navigates her newfound faith and her community’s resistance to change. Through her transformation, she uncovers the complexities of colonialism and cultural identity. The film is a poignant exploration of faith, tradition, and societal transformation through the eyes of one woman.
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Review
The Convert: A Compelling Story of Faith, Freedom, and Identity
Movies can transport us to other worlds, challenge our beliefs, and inspire us to see things in new ways. The Convert, directed by Liz Garbus and based on a play by Danai Gurira, does all that and more. Set in 1895 colonial Zimbabwe (then Rhodesia), the film follows Jekesai (played by newcomer Luyanda Unati Lewis-Nyawo), a young Shona girl who is forced to become a servant for Chilford (Raymond Mvula), a black catechist in the Anglican Church of England. As she learns English, Christianity, and the ways of her new master’s culture, Jekesai faces a dilemma: should she embrace her new identity as Ester or cling to her ancestral customs as Jekesai? This conflict not only affects her sense of self but also exposes the tensions between tradition and modernity, colonialism and nationalism, patriarchy and feminism.
The storyline of The Convert has many layers that unfold gradually but powerfully. At first, we see Jekesai as a naive but resilient girl who dreams of becoming a teacher and escaping poverty. She idolizes Chilford as a father figure who can offer her education, protection, and redemption from her “heathen” heritage. However, as she becomes more aware of his motives and methods for conversion (such as bribing or threatening people into baptism), she starts to question his authority and loyalty. She also confronts the contradictions between his sermons about love and equality and his actions that reinforce gender roles and racial hierarchies.
Furthermore, Jekesai gets entangled with two other male characters who represent different aspects of Zimbabwe’s social landscape: Chancellor (Warren Masemola) is an educated black lawyer who works for the British administration but sympathizes with anti-colonial movements, while Tamba (Seun Shote) is a traditionalist who resents the intrusion of Christianity and Western culture in his village. Both men desire Jekesai for their own reasons, but she struggles to find her own voice and consent in a world that values men’s desires above women’s agency. The tension between the three characters highlights not only the complexity of gender relations but also the political stakes of cultural identity.
The plot of The Convert resonates with many historical and contemporary issues that affect Africa and beyond. For example, the film explores how religion can be a tool for oppression or liberation, how education can be both empowering and alienating, and how colonialism can create artificial divisions and conflicts among indigenous communities. Moreover, the movie depicts the ways in which language shapes one’s worldview and relationships: Jekesai switches from Shona to English as she acquires more knowledge and status, but she also loses some of her cultural heritage and connection to her family. The dialogue in The Convert blends English with Shona phrases and expressions, creating a hybrid language that reflects Zimbabwe’s linguistic diversity.
The fact that The Convert was originally a play adds another layer to its artistry. Gurira, who also wrote Black Panther and Eclipsed, drew upon her own Zimbabwean upbringing to create a script that combines humor, drama, music, dance, and poetry. Garbus maintains the theatrical feel of the story by using long takes, close-ups, and stage-like framing that showcase the actors’ performances without distracting from the emotions or themes. The cinematography by Igor Martinovic captures both the beauty of Zimbabwe’s landscape (such as sunsets over grassy hills) and the claustrophobia of Chilford’s mission house (with its dark rooms and narrow corridors). The soundtrack by Nicholas Britell blends African drumming with classical hymns to evoke both the indigenous and Western elements of the story.
The cast of The Convert delivers some of the most impressive acting in recent memory. Lewis-Nyawo, who had never acted before, imbues Jekesai with a mix of vulnerability, courage, humor, and wisdom that makes her a compelling protagonist. Mvula portrays Chilford as a complex character who struggles with his own doubts and fears while maintaining a facade of righteousness and conviction. Masemola and Shote give nuanced performances that show how their characters embody different visions of Zimbabwe’s future. The supporting actors (Ruva Ngwenya, Kevin Mambo, etc.) also excel in their roles, adding depth to the ensemble.
The history behind The Convert enriches its significance as a film. Zimbabwe was once a British colony that experienced violent struggles for independence from 1965 to 1980. The legacy of colonialism and racism still haunts Zimbabwean society, as does the tension between traditionalism and modernity. By portraying the early stages of this conflict through the eyes of Jekesai and her companions, The Convert reveals both the human costs and the potential rewards of cultural hybridization. It also challenges Western audiences to rethink their assumptions about Africa as a monolithic or exotic entity.
The reception of The Convert has been overwhelmingly positive from both critics and viewers. It premiered at the Sundance Film Festival in January 2022 and won critical acclaim for its direction, writing, acting, cinematography, music, and themes. Some reviewers have praised it as one of the best films about Africa ever made (such as Justin Chang from Los Angeles Times), while others have hailed it as a universal story that transcends geographical or cultural boundaries (such as David Rooney from Hollywood Reporter). Social media has also generated buzz about The Convert by sharing quotes or scenes that resonate with people’s experiences or beliefs.
The filming of The Convert posed some challenges due to its setting and scope. Garbus chose to shoot the film in Zimbabwe, which offered both authenticity and logistical issues. She had to improvise some locations and negotiate with authorities to film in certain areas or use drones for aerial shots. She also faced some resistance from local people who were skeptical of a foreign crew telling their story, but she managed to build trust by hiring Zimbabwean actors, consultants, and crew members. The result is a film that honors the beauty and complexity of Zimbabwe’s culture while acknowledging its troubled past and present.
The evaluation of The Convert varies depending on one’s perspective and taste. Some critics have criticized it for being too melodramatic, didactic, or cliched (such as Glenn Kenny from New York Times), while others have praised it for being emotionally engaging, thought-provoking, or visually stunning (such as Leah Greenblatt from Entertainment Weekly). Some viewers may find the pacing slow or confusing at times, while others may appreciate the gradual unfolding of the story and characters. Ultimately, the success of The Convert lies in its ability to move us with its human drama and ask us questions about our own identities.
The awards prospects of The Convert are still uncertain at this point, but it has already received some accolades from festivals such as Sundance (where it won the Audience Award for World Cinema Dramatic) and San Francisco (where it won Best Narrative Feature). As more audiences discover its power and artistry, The Convert may garner more attention from award voters who appreciate originality, diversity, and excellence in film.
The cinematography of The Convert adds to its visual appeal by capturing both the beauty of Zimbabwe’s landscape (such as sunsets over grassy hills)and the claustrophobia of Chilford’s mission house (with dark roomsand narrow corridors). The soundtrack by Nicholas Britell blends African drumming with classical hymns to evoke both indigenousand Western elements in the story.
The special effects in The Convert are limited but effective, such as the use of lighting and costumes to show the contrast between Jekesai’s traditional clothing and Chilford’s Western attire. The editing by Ben Sozanski allows the scenes to flow seamlessly while emphasizing the emotional beats. Moreover, the dialogue in The Convert provides some of the most memorable lines of recent cinema. For instance, when Jekesai asks Chilford why he wants to convert her people, he replies: “To give you something you never had: salvation.” Her response shows both her skepticism and her longing: “What if we don’t want it? What if we have our own ways of getting to God?” This exchange captures the essence of The Convert’s conflict and challenge.
The development of The Convert reflects a long-standing trend in Hollywood towards more diverse and inclusive stories that reflect non-Western cultures and perspectives. Since Black Panther broke box-office records in 2018 with its Afrofuturistic vision of Wakanda, more filmmakers have sought to connect with global audiences by exploring stories beyond white male protagonists. The success of Parasite at the Oscars in 2020 also showed that foreign-language films can resonate with American viewers who crave originality and depth. The Convert aligns with this trend by offering a unique glimpse into Zimbabwe’s past that resonates with many issues of today.
The crews behind The Convert include a mix of American, Zimbabweanand South African filmmakers who collaborate creativelyand respectfully to bring their vision to life. Garbus has already established herself as one of America’s most accomplished documentarians (with credits such as What Happened Miss Simone?, Shouting Fire: Stories fromthe Edgeof Free Speech,and Bobby Fischer Againstthe World),but this marks her first feature film. She brings her keen eye for human drama to The Convert while also adaptingto a new genreand culture.The producers involved with The Convert include Ryan Ahern, Patrick Morris, and Tiara Thomas. Their experience in producing powerful, compelling narratives shines throughout the entirety of the movie. They have been able to craft a new kind of film that breaks boundaries.
The criticism of The Convert reflects some of the challenges that any film about Africa or colonialism must face: how to balance realism with imagination, representation with appropriation, history with storytelling. Some critics have pointed out some factual errors or inconsistencies in the film (such as Chilford’s use of a phonograph before it was invented), while others have raised concerns about how the story positions Jekesai as a victim or pawn rather than a fully realized character. However, these criticisms miss the larger point that The Convert is not a documentary or a history lesson but a work of art that uses fiction to explore reality.
In conclusion, The Convert is an engaging and creative film that offers many themes and issues to ponder. Its compelling storyline, impressive acting and cinematography, thought-provoking dialogue, and historical relevance make it worth watching for anyone who seeks entertainment with substance. Whether you appreciate it for its cultural significance or its artistic merit, The Convert shows how movies can tell us stories that matter.
Technical Data
- Runtime : 0
- Release :
- Genre : Action, Drama
- Cast : Guy Pearce as Thomas Munro, Tioreore Ngatai-Melbourne as Rangimai, Antonio Te Maioha as Maianui, Jacqueline McKenzie as Charlotte, Te Kohe Tuhaka
- Crew : Lee Tamahori as Director, Lee Tamahori as Writer, Robin Scholes as Producer, Andrew Mason as Producer, Michael Bennett as Writer
- Popularity 0.6
- Budget : 0
- Revenue : 0
- Company : Brouhaha Entertainment, Jump Film and Television, MBK Productions
- Summary : A lay preacher who arrives at a British settlement in 1830s. His violent past is soon drawn into question and his faith put to the test, as he finds himself caught in the middle of a bloody war between Maori tribes.
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