Olive Nwosu: Egúngún (Masquerade) Dakar Court 2022
Nigeria/United Kingdom - Fiction - 15 minutes - 2021
Synopsis
In search of healing, a young woman returns to Nigeria, to her ancestral village. To bury her mother. There she finds a woman, an old love—that is rekindled.
Olive Nwosu, about Egúngún in her own words:
Egúngún came from my need to examine my own feelings about the concept of “home”. When traveling, I lived under myriad identities, and I am tormented by this recurrent question: this perception of different lives lived, and the possibilities of lives. How fate leads us on a single path, excluding other versions of ourselves: there is undeniably, the injustice, the randomness, and the beauty of it all. It corresponds to the disguise of the Egúngún, when the ancestors return into a subconscious space to remind us of their existence, and in so doing we come face to face with a great deal of subliminal things, which we don't really know—the wounds of the past, the fractures of the present—so that we can confront them. In this sense, I would say that the film is a meditation on memory, identity, duty. About the many versions of ourselves that haunt us and heal us. And I hope, that by some sort of acceptance—of the Past, of the Self, of the Ego—after so much time spent in camouflage, that one can now feel. [Translation from French. https://clermont-filmfest.org/egungun/]
Egúngún came from my need to examine my own feelings about the concept of “home”. When traveling, I lived under myriad identities, and I am tormented by this recurrent question: this perception of different lives lived, and the possibilities of lives. How fate leads us on a single path, excluding other versions of ourselves: there is undeniably, the injustice, the randomness, and the beauty of it all. It corresponds to the disguise of the Egúngún, when the ancestors return into a subconscious space to remind us of their existence, and in so doing we come face to face with a great deal of subliminal things, which we don't really know—the wounds of the past, the fractures of the present—so that we can confront them. In this sense, I would say that the film is a meditation on memory, identity, duty. About the many versions of ourselves that haunt us and heal us. And I hope, that by some sort of acceptance—of the Past, of the Self, of the Ego—after so much time spent in camouflage, that one can now feel. [Translation from French. https://clermont-filmfest.org/egungun/]
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