Zola-2021
Director Janicza Bravo
Starring Taylour Paige, Riley Keough, Colman Domingo
Scott’s Review #1,290
Reviewed August 16, 2022
Grade: A-
I’ve said this before when speaking about cinema, but it bears repeating. I treasure the independent film genre and the creativity it allows. Usually, it’s a small group or sometimes even only one person with a vision and the ability to bring it to the big screen.
Budgets are almost always tight, but that’s a good thing. Remember how 1978’s Halloween was made on a shoestring budget and took over the world?
Zola (2021) is an outstanding example of the freedom allowed in independent filmmaking.
The film is not for everyone, and I think it knows this. Marketed as a black comedy, it’s a blend of drama, humor, and a dark story that can be difficult to watch at times.
Comic moments are contained within, but sometimes it’s unclear whether we are supposed to laugh or cringe.
I was enthralled by the film, not only for its compelling story but also for its instances of visual magnificence, such as the dazzling opening shot of lead character Zola (Taylour Paige) in multiple forms of bubbles and sparkles, surrounded by quick editing shots.
She boldly asks the audience, “Y’all wanna hear a story about why me and this bitch here fell out? It’s long but full of suspense.”
From the moment the first line is uttered, we know we are in for something sassy, salty, and dangerous.
Gorgeous and technically superior cinematography mixed with sex, drugs, and foul language would resurface throughout the film.
The story is loosely based on a viral Twitter thread from 2015 by Aziah “Zola” King and the resulting Rolling Stone article “Zola Tells All: The Real Story Behind the Greatest Stripper Saga Ever Tweeted” by David Kushner.
Eventually, portions of the tale would prove to be embellished.
Zola (Paige) is a Detroit waitress who strikes up a new friendship with a customer, Stefani (Riley Keough), who convinces her to join a road trip weekend of dancing and partying in Florida.
What at first seems like a fun trip quickly turns into a deadly journey involving a pimp, Stefani’s clueless boyfriend, some Tampa gangsters, and other unexpected adventures.
Director Janicza Bravo, a New York University graduate, is someone to watch out for. Zola is her first full-length feature and reminds me quite a bit of Tangerine (2015) and American Honey (2016), two superior independent films.
At other times, the film contains a sprinkling of the underappreciated 2019 film Hustlers starring Jennifer Lopez.
Bravo is not afraid to delve into the down-and-dirty lives of characters that most people would quickly dismiss or avoid altogether. Stories about strippers, prostitutes, and pimps can be a tough sell.
The sex work industry is not always pretty.
Zola contains the raunchiest scene I have ever seen. As Zola and Stefani sit on the toilet, going to the bathroom, the camera pans from overhead, revealing not only their naked bums but also the waste excreted into the toilet.
The setting of Florida, where much of the action takes place, hits home to me, as I recall several boozy vacations in various parts of the state. A somber gloominess enshrouds the characters as they traverse an otherwise bright and sunny landscape.
I love the detail and mixture of pretty and poisonous, but I was left knowing very little about the personal lives of the characters. I wanted to know how Zola and Stefani ended up where they did.
Considering the subject matter, Bravo thankfully doesn’t make the film violent or abusive. Instead, she peppers the dark comedy and over-the-top turns with her characters, especially the pimp (Domingo) and Stefani.
When Zola (2021) ends, I am left with an unsettling feeling of uncertainty and a lack of conclusion that I wish were different. Still, the creativity and the ability to create desperate characters willing to do anything to make some cash is fascinating.
Independent Spirit Award Nominations: 1 win-Best Film, Best Director-Janicza Bravo, Best Female Lead-Taylour Paige (won), Best Supporting Male-Colman Domingo, Best Screenplay, Best Cinematography, Best Editing
