“One Woman One Bra”, interview with the director Vincho Nchogu and the producer Josh Olaoluwa

At the 82 Venice International Film Festival, the film “One Woman Wa Bra“, one of the titles included in the program of Biennale College Cinema, captivated audiences with its compelling narrative set in a Kenyan village. The director Vincho Nchogu and producer Josh Olaoluwa shared insights into the filmmaking process, highlighting the intense yet rewarding journey of creating a film deeply rooted in African culture and women’s experiences. This documentary-style film explores themes of identity, land rights, and feminism, resonating universally with viewers worldwide.

A Harsh yet creative production process

Many were the challenges faced during production of “One Woman One Bra“, especially within the structured framework of the Biennale College program. “It was very intense,” Vincho Nchogu explained . “They provided little space to breathe but ample space to create.” The strict budget limits meant every decision had to be deliberate, but collaborative effort and goodwill among the team made through managing constraints and kept the project authentic. Josh Olaoluwa pointed out the importance of a clear financial plan and the value of working with passionate collaborators. “We knew our story was strong, and everyone involved enjoyed the process. That unity was crucial in handling the budget and ensuring the film’s integrity“.

Unveiling a unique african story

“One Woman One Bra” presents the story of a woman in a Kenyan village who cannot receive land ownership documentation because she lacks known parentage, marriage, or children—key ties needed for land titles. This narrative underscores the concept of kinship and societal expectations. Vincho Nchogu remarked, “It’s similar to applying for a visa—you need to prove ties to the land, whether family or business.” The film skillfully depicts her quest to find alternative ways to claim her right to land, including uncovering a childhood magazine cover with her face. The woman’s inventive approach mirrors the broader quest for recognition and individual identity, especially as she seeks acknowledgment beyond societal expectations.

Addressing feminism and community

Although initially intended as a personal exploration of womanhood, the film evolved into a powerful feminist statement. “Questions about women’s independence aren’t directed at men or boys; they focus on women’s agency,” the director explained. The story examines how community and societal pressures can restrict women’s self-expression, particularly as they age. A poignant scene features young women in the market discussing femininity—one states, “I can live without a man, but I cannot live without a child.” This highlights how societal norms equate womanhood with motherhood, and the film invites viewers to challenge these conventions.

Capturing kenyan landscapes and authenticity

The film’s visual aesthetic, praised for its beauty, was shaped by collaborative effort between Vinoniaogu and her Director of Photography. Initially, the plan was to shoot in northern Kenya’s desert regions, but discussions led them to focus on a more lush, traditional area in Loita, offering a landscape that better suited the story’s emotional and cultural context. Vincho Nchogu emphasised the importance of location and authenticity, involving local women in storytelling and script development. “They asked questions, suggested changes—this collaboration enriched the narrative and ensured it truly represented their lives,” she said.

A celebration of african cinema’s voice

“One Woman Wa Bra” exemplifies the power of storytelling to bridge cultures and highlight social issues. The collaboration between the filmmakers and local communities enriched the film’s authenticity, making it a standout entry at Venice. The project’s reception affirms that stories of African women, land rights, and community are not just regional but resonate globally, shedding light on universal struggles for recognition and independence.

 

Plot