Tuesday 3 August 2021


Undoubtedly the first film to ever be based on a twitter thread, A24's latest urban nightmare follows the true-is story of waitress and part time stripper Zola (Taylour Paige), who, after a chance encounter with fellow dancer Stefani (Riley Keough), agrees to go to Florida with her in order to make some quick cash. When things take a dangerous turn, Zola must do what she can to make it through the weekend.

A wild story that was the talk of Twitter in October 2015 when Aziah "Zola" King started her 143 post thread about her weekend in Florida with the words "Y'all wanna hear a story about why me and this bitch fell out?", I doubt she ever thought it would get optioned and turned into a feature film... but here we are. A cautionary tale that quickly found its way into urban legend, it arrives on the big screen pre-loaded as a stranger than fiction journey into the unknown. Sure, there's inaccuracies, embellishments and details changed (presumably for legal reasons), but Zola mostly lives up to its reputation as a story like no other.

Doing for Florida tourism what Robocop did for Detroit in the 80s, the world Zola blindly stumbles into is dark, dirty, and potentially deadly. This is a Florida built on the sexual manipulation of women, treating their bodies like a commodity to be sold at will by men who install fear as their primary weapon. In Zola's case, it's the man known as X (Colman Domingo), introduced as Stefani's "roommate" but who it quickly becomes apparent has a much more authoritative role in Stefani's life, selling her body and attempting to do the same with Zola. Carrying more street smarts than Stefani and not as willing to be manipulated, the film is largely about Zola's survival instincts and knowing when to step headfirst into danger in order to find her way out at the other end. Although not expressed narratively in the film, there's a clear subtext that she has seen dangerous situations in her past, best expressed in a fight or flight confrontation she has with Colman Domingo's X when she initially tries to leave. It's a tense and terrifying moment in a film that flips from comic to troubling on a dime.

Hugely important to the film is the racial dynamic between the four key cast members, Paige, Keough, Domingo and Succession's Nicholas Braun as Stefani's pitiful boyfriend Derrek. Stefani and Derrek both spout ebonics and often say things that make Zola visibly uncomfortable, as does X's accent which he switches at will to scare those around him. What becomes more apparent as the film leaves the strip clubs and heads to the hotel rooms, to the series of men who start to knock on the door there's a difference in worth (and price) between Zola and Stefani, but that Zola can use to aide her survival. Much has been made of the "blaccent" Riley Keogh adopts as the manipulative and manipulated Stefani (accusations of cultural appropriation not helped by her being Elvis Presley's granddaughter), but it's a superb, committed performance from an actor we're only just starting to see the best of. Likewise to Taylour Paige, who imbues Zola with a world-weary quality that makes her effortlessly likeable.

Propelled by music from Mica Levi, with the pinging sound of phone notifications creating the rhythm of the world (and informing us when the film is directly quoting from the original Twitter thread), at 86 minutes, director Janicza Bravo's film is whip fast and doesn't over stay its welcome, although for such a mythologised modern urban cautionary tale that's fraught with danger, better care should have been taken to wrap up the story more coherently. As it stands, it's a film that not only demands, but requires further reading to allow you to fully grasp how crazy a weekend Zola really had. Lead by two outstanding performances from its leads and with impressive support from Domingo and Braun, Zola is a film worth talking about.



Zola screened as part of this year's Sundance London Film Festival and will be on general release from Friday 6th August.

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