I Am Samuel is a labour of love in all senses. Shot over five years by filmmaker Peter Murimi, it charts the story of Samuel, a construction worker and netball coach, who has moved to Nairobi and fallen head-over-heels for Alex. In most countries, this narrative would make for an easy-going romcom, replete with a last-minute dash to the airport, but in Kenya, it plays out as a tragedy, for being gay and in love is a criminal offence. It may not delve deeply into the context of Kenya’s anti-LGBTQ+ prejudices or the consequences, but Murimi’s film presents an engaging paean to resilience, courage and unwavering love. In modern parlance, Samuel and Alex = #relationshipgoals.
Should Samuel choose family acceptance over being true to himself? The answer might break your heart.
The high stakes of being gay in Kenya are raised from the get-go, via iPhone footage of a man being kicked and beaten just for his sexuality, with Samuel, in voice-over, informing us that Kenyan legislation decrees any romantic liaison deemed to be “against the order of nature” is punishable by a maximum jail term of 14 years. The film then flits between the teeming urban capital, where Samuel and Alex lead a happy life with a supportive band of friends, and the small, deeply religious rural community where Samuel grew up. Samuel’s parents are farmers and look after his daughter, but all are seemingly ignorant of his sexuality. The film makes evident the attitudes of a conservative generation (not to mention country) that choose to turn a blind eye to the reality of their kids’ lives, asking a compelling question: should Samuel choose family acceptance over being true to himself? The answer might break your heart.
It’s a slight, short (under 70 minutes) film that doesn’t really interrogate the underlying traditions and attitudes that see Kenya’s homophobia pervade. But Murimi keeps it lively, flitting between an intimate, handheld feel and more formal drone/tracking shots. The story is also buoyed by a light, friendly, African-tinged score by Eric Wainaina, although an end-credits song ladles the goo on too thick. But the film’s biggest asset is its central twosome. It’s a hard heart that can resist the purity of Samuel and Alex’s relationship, and Murimi’s film pays tender tribute to it.