Inside Job is a short film by Kiana Rawji about an Indian housewife, her African domestic workers, and a plot of jewelry theft set in 1970s Nairobi. The film premiered at the 2023 Chicago South Asian Film Festival and was screened in 2023 at the Aga Khan Museum in Toronto.
Kiana embarks on a narrative odyssey rooted in oral histories and profound inquiries into the South Asian diaspora’s dynamics in East Africa. Reflecting on her upbringing in Canada and the stark juxtaposition with her familial heritage, she unveiled a quest to unearth the intricate tapestry of racial tensions and identity nuances. “I aimed to confront entrenched notions of belonging and reveal the undercurrents of racism within the South Asian diaspora,” she reflected, propelled by a fervent desire to challenge societal discomfort. Drawing from immersive research and candid dialogues with individuals from diverse backgrounds, Kiana delved deep into domestic narratives that would ultimately shape her cinematic world. “Each aspect of the script was imbued with authenticity derived from real-life stories,” she affirmed, emphasizing the genuineness that underpinned her creative journey.
She uses a recurrent theme of theft emerged as a poignant motif, symbolic of broader societal anxieties and racialized perceptions. “In the brown imagination, theft became intertwined with notions of blackness, perpetuating deeply ingrained stereotypes,” Kiana recounted, shedding light on the intricate interplay of power dynamics and racial biases. Conversely, narratives from black workers offered poignant insights into their lived experiences, revealing nuanced perspectives on their Indian employers. “My film navigates these microcosms of intimacy and transcends boundaries, offering fleeting glimpses of connection amidst prevailing narratives of division.”
“The culmination of the film, marked by the employer’s gesture of bestowing her worker with a bangle, draws inspiration from poignant tales recounted by South Asians who departed East Africa, bequeathing their possessions to domestic workers.”
The techniques evoke a dream-like quality, fostering ambiguity between reality and illusion. “I intentionally crafted the scene to blur the lines between fact and fiction, inviting viewers to grapple with the enigmatic nature of the bangle’s transfer,” she remarked thoughtfully.
However, her perspective transcended the confines of mere filmmaking, delving into the broader implications of historical reckonings and familial bonds. “The departure of Indians from East Africa marked a pivotal moment of introspection, wherein the legacies of colonialism resurfaced, confronting both brown East Africans and their benefactors,” she mused. Through “Inside Job’s” denouement, Kiana envisioned a realm of possibility and reflection, where the symbolic act of gifting a family heirloom transcends conventional notions of familial ties.
“Interpretations of the bangle vary widely, ranging from symbols of familial connection to expressions of remorse or remnants of diasporic legacies,” she concluded, encapsulating the multifaceted nature of her cinematic vision.
Kiana also made a short documentary called Mama of Manyatta which uncovers the profound insights it offers into the concept of resistance amid the battles against HIV and gender-based violence. When prompted about this theme Kiana responded promptly, shedding light on the diverse manifestations of resistance, particularly within the context of gender dynamics. In a poignant scene, the film’s protagonist, Phellogens, imparts crucial knowledge to young girls on the utilization of female contraceptives as a means of defending themselves against post-election sexual violence. While some may question this focus on prevention rather than addressing perpetrators directly, Phellogens emphasizes the significance of providing women with tools for self-protection in their daily lives, recognizing the incremental nature of societal change.
Furthermore, the film poignantly captures the essence of resistance through resilience, joy, and dignity. Despite bearing witness to profound trauma and guiding others through their healing journeys, Phellogens exudes an unyielding spirit of resilience and hope. Through the mediums of song, dance, and prayer, she fosters a sense of joy and strength wherever she goes, infusing the narrative with a tangible aura of optimism and empowerment. Indeed, Mama of Manyatta stands as a testament to the transformative potential of resistance, embodying the enduring spirit of those who bravely navigate adversity with grace and determination.
“And I wanted her spirit of joy and strength to permeate the film,” reaffirms Kiana. I couldn’t help but address the elephant in the room, broaching the topic with a thoughtful inquiry: “Race seems to be a central theme in your work. How do you perceive race, and how does it influence your creative process?” With a reflective pause, Kiana responded, drawing from her academic and personal experiences: “During my time at Harvard, I delved into a class on American slavery, exploring the writings of scholar Barbara Fields. Her insights not only shaped my scholarly pursuits but also influenced my artistic endeavors. I came to understand that race is a construct, perpetually shaped and reshaped in our daily lives.”
“While it may not possess tangible reality,” she continued, “its ramifications are undeniably tangible. Neglecting to acknowledge race or disregarding its significance—such as the oversight in Canada’s healthcare system regarding racial data collection—fails to address the disproportionate impact certain issues have on marginalized communities.”
With conviction, she affirmed, “My films confront the consequences of race—the interpersonal constructs we uphold, and the systemic oppression ingrained in society. Whether portraying life in the slums of Kisumu or within the confines of 1970s Nairobi, the shadow of racial implications looms large. It’s about navigating the aftermath of racial discord in our societies.”
Kiana embodies the essence of an accidental filmmaker. When I inquired about her journey into the world of filmmaking, she graciously shared her story. “I thought I would study law at Harvard,” she began, reflecting on her initial aspirations. “But quickly realized my heart was in the arts.”
Recalling her transformative experience, she continued, “In my first year, I took a film class called Social Justice, and the Documentary Film taught by filmmaker Vivek Bald. It opened my eyes to film as a new, provocative way to engage with social issues I cared about and create empathetic links to seemingly distant stories.” With a hint of nostalgia, she reminisced, “I made my first short film in that class and loved every part of the process. Something just clicked for me, and I realized this was what I wanted to do. I haven’t looked back since.”
In 2022, Kiana made her foray into fiction filmmaking with Je Suis, a film about a Muslim college student who endures an insensitive and Islamophobic classroom discussion.
In Calgary, Kiana attended Strathcona Tweedsmuir School from elementary through middle school, consistently ranking at the top of her class. She then moved on to the prestigious Deerfield Academy in Massachusetts for high school, where she continued to excel. Her dedication to academic excellence led her to Harvard University, where she majored in film and history and graduated summa cum laude.
Kiana’s first major success came with her 2021 documentary, Long Distance which was funded by Calgary Arts Development and won the Grand Jury Prize for Best Alberta Short Film at the globally renowned and Oscar-qualifying 2021 Calgary International Film Festival. Long Distance explores the migrant worker crisis in Canada through the story of a Filipino couple affected by the COVID-19 outbreak at Alberta’s Cargill meat plant in 2020.
The film skillfully blends broader political commentary with a touching portrayal of two resilient individuals: Derek, a former Cargill worker who spent nine months recovering in the hospital from a COVID-induced stroke, and his wife, Norie, who demonstrated remarkable strength in supporting her family during this challenging time. Set against the backdrop of COVID-19 outbreaks among migrant workers across Canada, Long Distance sheds light on the exploitative infrastructure and systemic racism that placed these workers in vulnerable positions. The film highlights both Norie and Derek’s “long distance” relationship—with Derek isolated in a hospital far from home—and the significant distance Canada still needs to go to fulfill its promises of multiculturalism and human rights.