Farewell Amor is a 2020 American drama film Written and Directed by Ekwa Msangi. The film Produced by Lance Acord, Jackie Kelman Bisbee, Sam Bisbee, Inna Braude, Theodora Dunlap, Cassian Elwes, Charles D. King, Joel Michaely, Ekwa Msangi, Wendy Neu, Joe Plummer and Jenifer Westphal.
This film starring Ntare Mwine, Zainab Jah, Jayme Lawson, Joie Lee, Nana Mensah, Sanjit De Silva, Joel Michaely and Souléymane Sy Savané in the leading roles. The film music composed by Osei Essed, Cinematography Bruce Francis Cole and Edited work done by Jeanne Applegate and Justin Chan.
After 17 years in exile, Walter was finally reunited with his family after he had to leave Angola for New York. We met the family when Walter picked up his wife Esther and daughter Sylvia from the airport to take them back to their one-bedroom apartment in Brooklyn.
They quickly discover how their years of separation turned them into strangers. They rely on the dance’s muscle memory to find their way home, trying to overcome personal and political barriers between them.
As the film reaches its peak, the film’s perspective shifts from Walter’s perspective to Sylvias’s and then to Esther’s. We gain a new appreciation for what each character goes through at various points in the story. From Walter’s point of view, Sylvia looked like a lonely teenager who had no interest in reconnecting with her.
If we look at history from his side, we see her panic in this new uncomfortable situation. We saw a lot of messages for our friends back home. And her mother forbade her secret love of dancing to follow her.
Each story from Ekwa Msangi’s debut film has three faces that are followed closely and vividly. So he cleverly divides the movie into three, repeats the plot, but changes the perspective of each episode. This structure draws attention to the constant misinterpretation of each other’s characters and integrates personal interests into family descriptions of immigrant experiences. Stiff and divine Esther had a stifling quality to it, but Jah’s appearance revealed hidden weaknesses (and suppressed earthly passions) and expressed her devotion as the basis for her home.
Although “Farewell Amor” follows the usual route, the three-part structure has an unusual feel. In other films, Esther’s religious orthodoxy may be portrayed as outdated and even caricatured. While Jah here strongly expresses Esther’s loneliness in America in a secret montage. Remote research shows the character how she found fellowship in the church after losing her home in the war.
“Farewell Amor” unexpectedly takes on a threefold form. You might think the story he got was from Walter’s point of view. But Msangi’s script turned to Sylvia, who in close touch with her friends Africa via WhatsApp and text message. The side of the story shows a disconnected teen suddenly falling into a foreign land. But his skills as a dancer have helped him get closer to his friends.
Simple humanism here explains the reasons for encouraging and celebrating the American immigrant population in a more meaningful and compelling way than a controversial movie could. Regardless, Farewell Amor marks the arrival of an exciting new talent to Msangi, with three details from her life. Perhaps just the tip of the iceberg of a story she has yet to tell. The title “break” is misleading, not only because the movie starts and ends with a fresh start. But also because Msangi has just arrived and if there is justice, it won’t go away anytime soon.