Sundance Review: Nikyatu Jusu’s Debut Feature ‘Nanny’

philandering husband. Aisha is caught in the middle as their martial problems are messing with her money — paying her late, or not at all. The money is important as she’s using it to save in order to bring her son Lamine from Senegal.

Aisha begins having visions that sometimes cause her to go into a trance. They are mild at first, but the closer she gets to her son’s arrival, the visions become foreboding and malevolent. Two figures she sees in these visions are of Anansi and Mami Wata . Aisha doesn’t understand why this is happening to her, but when she expects her son’s presence in New York, the horrific visions become clearer.

Every apparition is centered in and around water, which can signify rebirth. To the outside world, rebirth can be seen as a positive thing, butJusu , uses folklore and the element of tradition to communicate a message to the film’s heroine. Aisha is frustrated with her current work situation, and experiences all the rage a Black woman can feel when thinking about raising a Black child in America.

survival, and refuse to be owned, so why would Aisha want that for herself and her child? Because that is all migrating to America as an undocumented immigrant is going to consist of. Jusu uses Aisha’s fear of the unknown and rage to set the tone of the film. As a director, she understands the horror genre and how to use subtlety, mystery, and color to create atmospheric tension. From the moment the credits begin, there is something not quite right with the world we’re about to step into. It’s an ideal method of audience engagement that will keep viewers on the edge of their seat throughout. There’s also some Ousmane Sembène cinematic influence.

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