Susan Chardy Discusses Her Zambian Heritage And It's Influence On Her A24 Film 'On Becoming a Guinea Fowl' [Interview]

You only get one shot at a first impression, Susan Chardy has arrived to screen acting in a role many actors work towards for years. Starring in acclaimed director Rungano Nyoni’s second film “On Becoming a Guinea Fowl”  premiered at the Cannes Film Festival’s Un Certain Regard where Nyoni went on to win the award for Best Director and A24 picked it up for distribution. Susan plays Shula, a Zambian woman having to deal with the aftermath of her uncle’s death. As she helps put the funeral arrangements together she uncovers skeleton’s in her uncle’s closet which reveal the injustices that prevail amidst her culture’s traditions. Susan plays Shula with the poise of a veteran performer while preserving a warmth that allows viewers to enter her interior world. The film deals with very real struggles with a touch of magical realism and a humanistic approach to everyone involved. We sat down with Susan leading up to the film’s UK release to talk about life before, during, and after her on screen debut. 

Photographer, David Reiss

Styling, Miranda Almond

Hair, Deborah Lola

Make-up, Maria Asadi

When did you first come in contact with the performing arts?

It started when I was really young, I used to sing at my own birthday parties for my friends. Later on in life I knew that my place was in front of the screen, I wanted to act as opposed to do music and be a singer. 

Where were you in life, personally and professionally, when this project reached you?

I was a model prior, to support my family financially. The only thing I’d done acting wise before was during my degree. In terms of a job, a role in acting that’s not a commercial or something like that, this was my introduction into this world. Which is incredible for me to say, collaborating with Rungano and doing this immensely important project that means so much to me is a dream scenario. 

In terms of my life, the modelling was great but I had this itch to scratch of being creative and wanting to act. After I got married, I told my husband “this is what I’ve always wanted to do, I’m going to chase my dream…” Two weeks later I got this role, two weeks after I spoke that out to my husband and into the universe. It was like “do you want to act, girl? Here you go.”

Brown leather trousers JOSEPH, Black Stretch Body COMMANDO, Black blazer AFTER HOURS, Gold Hoop Earrings Deborah Blyth, Black, Red heels MANOLO BLANHNIK.

Not only is this your first feature film, you're playing the lead. What was your preparation process like leading up to production?

The time between getting the role and getting the script to then get on the plane was not a big period of time. I only got the script once I was locked into the job. In terms of preparation, it was more about really using the script and my own personal experience. There’s so much authentic material to work with within myself, that’s what I love to do. It brings an authentic side to the performance I really wanted to hone in on. (Shula) is not like me, I don’t internalize what I feel and she did. It was just a wonderful experience to live through her in that respect.

I spoke to my younger sister because the culture is a big part of the film. I was born in Zambia but I left when I was about 10ish to come to school in England and my sisters remained there. I needed to re-immerse myself, my sister gave that perspective. She has been to funerals in Zambia and I hadn’t since I was really young when I was living there, it’s not a place you take a six-year-old. 

Did you have to brush up or relearn Bemba (one the many languages spoken in Zambia, the main one spoken in the film) leading up to production?

No, I’m very fluent and it makes me very proud. From a young age, whenever I’d go back, I’d go to the market and people would speak Bemba about me not knowing I could (understand it). They used to call me mzungu which is like a white person, because of my hair and my dad is white. I’ve been really adamant with myself, because Zambia is my soul, that I would never forget my language. Even when I left I would only speak Bemba to my family because I never wanted to forget. That played really well for me when I got the script. 

In the opening scene your character is dressed up in Missy Elliott’s iconic outfit from her The Rain music video. What went behind making such a specific choice?

(Rungano) just loves Missy Elliott, if there’s something more to it she didn’t share it with me. Maybe it’s something from her past that makes her nostalgic. 

Much like Shula, you and Rungano are people who now live in the global West coming back home to deal with the issues lying there. Could you tell me more  about the considerations you had coming into the role concerning this dynamic?

It was really important to showcase the culture as it is and give it truth. It’s this fine line where you don’t want Zambians to go “that’s not what we do.” We wanted to depict it in a truthful way on this global platform. In Zambia there are so many different tribes, I’m Bemba tribe so I speak that language but there are a few other languages spoken in the film. (While filming the funeral scenes), which are the most tradition based, someone would say “that’s not how we do it.” Rungano would be (very receptive), she absorbed everything and respected everyone’s opinions. It was a good balance of having done her research before and learning (while shooting).

We understand the cast was made up of professional and first time actors, all from Zambia. What challenges and gifts came from working with people whose acting experience varies so much?

The main word that comes to mind is inspiring, to be around them. To just see them really give every inch of themselves to these characters, however big or small they were in the scene. It was a collective pride for this project, not knowing it would have this effect and response. Certain scenes were really difficult, (the first time actors) managed to find the space. Credit to Rungano, as well, she was able to get them there. She spoke to everyone differently, there wasn’t a uniform way she spoke. She was so respectful with everybody (regardless of their experience level). 

Shula seems to be simmering emotionally through her journey to this funeral. we imagine that, like most films, this wasn’t shot chronologically. What was it like to keep such a delicate emotional continuity during production?

The only way I could get myself in the right headspace was to sit with Rungano and just talk about what’s happened before the scene (we’re about to shoot). Not just read the scene, I could do that (myself) but more talk about Shula’s journey in that scene to try to enter that moment. Shula doesn’t have big “a-ha” moments, you have to keep this balance of how she reacts to everything and everyone around her. 

There is a palpable restraint felt while watching the film. A refusal to sensationalize or over dramatize the subject at hand. Was this on your and the Rungano’s mind before and while making it?

I hadn’t read (Shula) as an overly expressive person, I felt she was this secret mother hen protector. Figuring her way out, mirroring herself in the eyes of others. We’d do a scene and Rungano would cut after two takes because we had it and at certain times she would want to dial it down a bit because it may be too much too soon. She was really specific about when Shula could let the audience really see how she was feeling. Even at that moment there was not a point where I interpreted any part of Shula as a character that would be on floor crying. I wasn't throwing myself on the floor crying… All three journeys, of Shula, Nsansa (Elizabeth Chisela), and Bupe (Esther Singini), coming together are all different. It was nice to see three different takes on what’s happening, so that the audience can see themselves in one of those characters. 

The camera is with Shula for a majority of the film. What was your relationship like with the camera team on set?

Oh my god! They were so great. David Gallego (director of photography and camera operator) and Julian Lalinde (f1st assistant director) were so wonderful, I got to know them very well which was very important. They were so respectful around each scene, it was so nice to feel safe in that space. Rungano would strip back who was around on certain scenes because of how delicate they were. I was so comfortable with David and Juli there that I could just be. David said “Susan, no makeup. I want to see every inch of you.” So the whole film I had no makeup on, that’s the level of trust we had. 

Black and white knitted tank top & skirt BALMAIN, Black and White Loafers RUSSELL and BROMLEY, Gold Heart Earrings Vintage

How did the Zambia you encountered on this project compare to how the land lived in your mind?

I took my son, who was two years old at the time. That was a challenge in and of itself, but it was beautiful. I got to experience Zambia through his eyes. On my down days we’d have the most incredible time, just watching him take my culture in.  

What do you feel is lacking from British cinema?

There’s a lot of tradition, I want to see British cinema shaken up. I feel like Peaky Blinders really shook things up. It was raw and gripping, whereas if you look at the stuff that came out prior there’s not much that ruffles your feathers. Steve McQueen has these incredible topics that he talks about which are really important, I love the way he works. Jeymes Samuel is really shaking things up. Or even Supercell is really exciting, from the new generation. 

Going forward, what challenges are you pursuing as a performer?

After doing Shula I’d love to go on the other end of the spectrum. I’m quite physical, I love sports. It would be amazing to be in an action film. Or even something lighter like a rom-com. Whatever it is, going forward it’s about choosing the right stuff. I really want versatility and I want to do projects that speak to me for some reason.