Joy (2018)

Because my Global Cinema series will be covering the country of Austria tomorrow, I’ve done a week of German-language cinema by women filmmakers. The most recent release I’m covering is this film I saw at the 2018 London Film Festival, where it won the main prize. It’s very far from a joyful film, despite its title, and is a tough watch, but is available on Netflix (at least in the UK).


I’m not sure how to feel about this film, but it’s certainly not always an easy watch — there’s no happy ending on offer, despite the title (the name of the central character, played by Joy Anwulika Alphonsus, rather than a particularly defining emotion throughout the film). It’s also not, I would hope, intended to be a film about how it is to be a sex worker but rather presents one particular experience, which is of non-European women (in this case, Nigerian) trafficked into sex work and trapped for a significant chunk of time through mounting debts in a form of slavery. The filmmaker bookends the film with scenes set back in Nigeria, though this is largely an Austrian film from an outsider’s perspective — at least, though, it balances the early scene of juju witchcraft practised in Nigeria with a similarly syncretic religious/pagan folk tradition in the mountains of Austria. It also keeps its focus firmly on the character of Joy, so even when we see well-meaning (white) Austrians trying to help her, it’s clear how ineffectual they are and how impossible it is for Joy to act according to what they consider the self-evidently moral and righteous response. Joy’s story is part of an ingrained and ever-repeating cycle of exploitation and capitalism founded on the inequalities of the world’s economy, so the film recognises all it can do is shine a light on this one immigrant story.

Joy film posterCREDITS
Director/Writer Sudabeh Mortezai; Cinematographer Klemens Hufnagl; Starring Joy Anwulika Alphonsus, Mariam Sanusi; Length 109 minutes.
Seen at Vue West End, London, Tuesday 16 October 2018.

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