BUSHMAN - 24|11|2024

 

“Are you going back?”
“Sure, baby, that’s where I belong.”
“What does belong mean?”

Our 15th screening saw 25 friends convene for David Schickele's stunning 1971 drama-come-documentary Bushman. The story follows Gabriel, a Nigerian man living and working in San Francisco, set against the backdrop of the civil war in Nigeria and the recent assassinations of Martin Luther King Jr. and Robert Kennedy in the US.

The film weaves three cinematic states together to tell its engaging story—switching between the scripted scenes of Gabriel's current life in San Francisco, archival footage of his past in Nigeria, and segments of a reflective interview he gives to an unseen interviewer. This cinematic treat delivered what Aftersunnettes described as a realistic portrayal of semi-fictional Gabriel, later revealed to reflect Paul’s experiences as an African national in the US.

The post-movie discussion explored how the film aligned with our current theme of belonging—how one can feel a sense of belonging to a place, a person, or an idea.

Aftersunnettes homed in on a character we nicknamed “Peanut Lady,” who shares peanuts with Gabriel at a bar and asks, “Do you eat them there?” to which he responds, “We grow them.” This curious flirtation led to the pair spending the night together, but by morning her curiosity seemed to shift to annoyance. She asked him if he always wore “that thing around your neck” (referring to his flute) and cautioned him not to use her toothbrush.

The initial interaction at the bar brought laughter to the house when Peanut Lady asked, “What else do you eat?” and Gabriel replied, “Babies’ legs!”

Aftersunnettes noted the recurring theme of othering or standing out throughout the movie. The visually stunning shots of a kitenge-clad Gabriel walking down the shoulder of a busy San Francisco multilane highway with his log, or carrying his shoes and books on his head, were poignant reminders of cultural juxtaposition and Gabriel’s defiance to remain authentically himself—an African in his temporary new home.

This “otherness” was further exemplified in awkward interactions with the overly friendly Felix, who compliments Gabriel’s attire by calling it a “costume.” (Aftersun Super Trivia: Felix is Henry from Eraserhead!)

Aftersunnettes delved into the theme of exoticism, debating whether the film portrayed a fetishization of the Black body or simply reflected natural curiosity. For instance, when Gabriel and a female character are intimate, she plays with his hair and describes it as “spongy, like a nest.” While some saw this as an innocent description of something unfamiliar, others viewed it as a derogatory fetishization of Black hair.

We won’t spoil the whole film because you definitely need to seek this one out! About three-quarters of the way through, real-life events dictate how the rest of the story unfolds. You could call this a perfect film essay—one that explores themes and ideas through narration, stunning visuals, and documentary footage.

The film resonated with many Sunnettes, reflecting their own experiences of feeling like outsiders and prompting contemplation of how many people today are strangers in strange lands.

Other notable mentions at this screening included Ajay’s delicious Hungry Lulu snacks, the heartwarming short film Hair Love, and the quote: “A sentence understood is more intimate than a kiss.”

Until next time, look after each other—and say hi to a stranger today!