In ‘Yam and Egg,’ Nigerian Filmmaker Emily Nkanga Focuses on the Aftermath of a Tragedy
The opening scene of Yam and Egg is immediately ominous. A knife leaves a pristine, white kitchen drawer; held assiduously in a man’s hand, the knife is brought towards flesh. But because of its bluntness, it doesn't do much; its horrifying possibilities are reduced to nothing.
In Emily Nkanga’s debut short film, life is held up exactly as it is. A scene where a blunt knife foils an attempted suicide is filmed without suggestion nor implication. This honest, sometimes gritty, narrative language makes Yam and Egg an incredibly compelling film, and Nkanga, a fascinating voice.The short film follows Gbenga (Tomisin Ajani), a Nigerian man who has just moved to the U.K. after the death of his sister during the EndSARS protests, and Pelumi (Treasure Obasi), a stranger who bumps into Gbenga and changes his life in a sinister way. Yam and Egg highlights how the stressors of life in Nigeria continue to play a role among those who leave, no matter how far away they are. But more than that, it’s an incisive look into the grayness of morality and the abiding influence of trauma.
Photo by Ayesha Kazim for Helium Media.
‘Yam and Egg’ highlights how the stressors of life in Nigeria continue to play a role among those who leave, no matter how far away they are.
It’s why there is perpetual tension hanging in the air of the film, which is set to make its debut at this year’s Africa International Film Festival (AFRIFF). A sense of unease rests in the eyes of both characters even when they find moments of joy, even when, like Gbenga sharing the story behind his sister’s death to a stranger who is also a Nigerian, they are vulnerable and willing to unburden themselves.
With sublime writing by Wale Adetula, Yam and Egg is gripping and filled with a deceptive tenderness that will kick you in the stomach at the end. Although she has worked in film and photography, this is Nkanga’s narrative debut and a revelation into her mind.
Below, Nkanga talks about making Yam and Egg, creating gritty scenes, building complicated characters and focusing on the aftermath of tragedies.
This interview has been edited for length and clarity.
Photo by Ayesha Kazim for Helium Media.
Although she has worked in film and photography, this is Emily Nkanga’s narrative debut and a revelation into her mind.
OkayAfrica: What is the symbolism of the title ‘Yam and Egg?’
Emily Nkanga: It gives it the Nigerian identity to start with, but on a more symbolic level, when you look at a yam, on the outside it’s dirty and on the inside it’s clean. He wouldn't have known that she would be who she is and she wouldn’t have known about him either because like an egg, he is hard on the outside but liquid inside and that shows the duality of things.
How did the story start?
All of this started from conversations with Nigerians who had left Nigeria. A lot of people that I used to know in Lagos, when I see them, would go ‘Yeah after EndSARS, I just couldn't do it anymore.’ It was just having conversations with people and realizing that there were a lot of things that happened as a result of EndSARS that we don’t necessarily talk about. And for me, I've always been interested in the aftermath of tragic situations.
What is it about the aftermath of situations that you are most drawn to?
I noticed that a lot of what happens after [a tragedy] is not really focused on; it's what happened before and during, and for me that is not the complete human story. I feel like when people realize that there are consequences for things, and these are the things that happen after, it might be easier to encourage people not to make these decisions in the first place.
Photo by Ayesha Kazim for Helium Media.
“I noticed that a lot of what happens after [a tragedy] is not really focused on; it's what happened before and during, and for me that is not the complete human story.” - Emily Nkanga
Why was it important for you not to shy away from showing viewers the difficult scenes in the film?
Instead of glossing over it, I feel like some things should just be addressed head-on. I felt that was the best way to grab people's attention and also let people know that we're in for the real deal. I wanted people to know that these are real stories and struggles.
An interesting part of this film is the moral complexity of the characters; why was that important for you to show?
I'm interested in everyday life and in the complexities of what those situations are. I've come to realize that nobody is a straight line. And with this film, I felt like it was important to try and incorporate that. [In Pelumi’s case and her betraying Gbenga] she has just moved, but they kidnapped her sister or her sibling back in Nigeria, and that's something she has to deal with and figure out by any means necessary.
What do you hope people feel when they watch this film?
I want people to realize that there are people who suffered and are still suffering as a result of the EndSARS. I also want people to realize that it’s good to be nice and understanding [unlike Pelumi]. Even though Pelumi had her situation with her siblings, I still want the audience to be upset with her. Why would you do that to someone mourning the anniversary of their sister’s killing?
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