Zola Archives – CULTURE MIX

2022 Film Indepedent Spirit Awards: ‘Zola’ is the top nominee

December 14, 2021

Nicholas Braun, Riley Keough, Taylour Paige and Colman Domingo in “Zola” (Photo courtesy of A24)

The following is a press release from Film Independent:

Film Independent has announced nominations for the 2022 Film Independent Spirit Awards. Film Independent President Josh Welsh introduced the prerecorded video announcements, which featured guest presenters Beanie Feldstein (The Humans, Impeachment: American Crime Story), Regina Hall (Nine Perfect Strangers, Girls Trip) and Naomi Watts (Penguin Bloom, upcoming The Watcher). Watch here: bit.ly/spiritawards2022 (case sensitive).

Best Feature nominees include A Chiara, C’mon C’mon, The Lost Daughter, The Novice and Zola. [Editor’s note: Zola is the top nominee, with seven nods.] Also announced, for the second year, were the nominees of five TV awards. Nominees in the Best New Scripted Series category include Blindspotting, It’s a Sin, Reservation Dogs, The Underground Railroad and We Are Lady Parts.

Mass was selected to receive the Robert Altman Award, which is bestowed upon one film’s director, casting director and ensemble cast. The Altman Award was created in 2008 in honor of legendary director Robert Altman, who was known for creating extraordinary ensemble casts.

Celebrating creative independence, original, provocative subject matter, diversity, innovation and uniqueness of vision, the 37th Film Independent Spirit Awards will be held on Sunday, March 6, 2022, positioning it squarely in the corridor leading into Oscar voting. Returning to its home on the Santa Monica beach, the in-person show will be broadcast exclusively on IFC. The Spirit Awards are the primary fundraiser for the nonprofit Film Independent’s year-round slate of programs, which cultivate the careers of emerging filmmakers and promote diversity and inclusion in the industry.

“Congratulations to this year’s nominees – visual storytellers who have made the most original, daring and provocative film and television shows of the year,” said Film Independent President Josh Welsh. “The Spirit Awards once again plants its flag on the beach at Santa Monica, and on IFC. We’re thrilled to be back and celebrating art that continues to inspire, enlighten and entertain us.”

Blake Callaway, GM of IFC, said, “The Spirit Awards is a standout event in any year. After being away for more than a year, IFC is ready to bring audiences back to the beach celebrating the best of film and television.”

This year the Spirit Awards Nominating Committees selected nominees from over 15 different countries, applying the following guidelines in determining nominees: uniqueness of vision, original and provocative subject matter, economy of means. The Spirit Awards Nominating Committees are comprised of writers, directors, producers, cinematographers, editors, actors, critics, casting directors, film festival programmers and other working film professionals. Of all nominated writers and directors, 44% are women and 38% are BIPOC. Of all nominated actors, 60% are BIPOC. And of all 2022 nominees, 46% are women and 32% are BIPOC. This year, the Spirit Awards nominating committees are 63% women, 5% Nonbinary and 56% BIPOC.

The Film Independent Spirit Awards are supported by Premier Sponsor IFC; Bulleit Frontier Whiskey and Seedlip, the Official Spirits; and FIJI Water, the Official Water.

Want to vote? As always, winners are selected by Members of Film Independent. Members must be current by December 21 to receive full voting benefits, including access to nominee screeners. To join Film Independent and vote on the Spirit Awards, please visit filmindependent.org/join.

To learn more about supporting Film Independent’s mission and programs, contact Kate Walker D’Angelo at [email protected].

To learn more about the Spirit Awards eligibility rules and regulations please visit filmindependent.org/spirit-awards/faq.

2022 FILM INDEPENDENT SPIRIT AWARD NOMINATIONS

FILM CATEGORIES

BEST FEATURE (Award given to the producer. Executive Producers are not awarded.)

A Chiara
Producers: Jonas Carpignano, Paolo Carpignano, Jon Coplon, Ryan Zacarias

C’mon C’mon
Producers: Chelsea Barnard, Andrea Longacre-White, Lila Yacoub

The Lost Daughter
Producers: Charles Dorfman, Maggie Gyllenhaal, Osnat Handelsman Keren, Talia Kleinhendler

The Novice
Producers: Ryan Hawkins, Kari Hollend, Steven Sims, Zack Zucker

Zola
Producers: Kara Baker, Dave Franco, Elizabeth Haggard, David Hinojosa, Vince Jolivette, Christine Vachon, Gia Walsh

BEST FIRST FEATURE (Award given to director and producer)

7 Days
Director: Roshan Sethi
Producers: Liz Cardenas, Mel Eslyn

Holler
Director: Nicole Riegel
Producers: Adam Cobb, Rachel Gould, Katie Mcneill, Jamie Patricof, Christy Spitzer Thornton

Queen of Glory
Director: Nana Mensah
Producers: Baff Akoto, Anya Migdal, Kelley Robins Hicks, Jamund Washington

Test Pattern
Director/Producer: Shatara Michelle Ford
Producers: Pin-Chun Liu, Yu-Hao Su

Wild Indian
Director/Producer: Lyle Mitchell Corbine, Jr.
Producers: Thomas Mahoney, Eric Tavitian

JOHN CASSAVETES AWARD – Given to the best feature made for under $500,000 (Award given to the writer, director and producer. Executive Producers are not awarded.)

Cryptozoo
Writer/Director: Dash Shaw
Producers: Tyler Davidson, Kyle Martin, Jane Samborski, Bill Way

Jockey
Writer/Director/Producer: Clint Bentley
Writer/Producer: Greg Kwedar
Producer: Nancy Schafer

Shiva Baby
Writer/Director/Producer: Emma Seligman
Producers: Kieran Altmann, Katie Schiller, Lizzie Shapiro

Sweet Thing
Writer/Director: Alexandre Rockwell
Producers: Louis Anania, Haley Anderson, Kenan Baysal

This is Not a War Story
Writer/Director/Producer: Talia Lugacy
Producers: Noah Lang, Julian West

BEST DIRECTOR

Janicza Bravo
Zola

Maggie Gyllenhaal
The Lost Daughter

Lauren Hadaway
The Novice

Mike Mills
C’mon C’mon

Ninja Thyberg
Pleasure

BEST SCREENPLAY

Nikole Beckwith
Together Together

Janicza Bravo, Jeremy O. Harris
Zola

Maggie Gyllenhaal
The Lost Daughter

Mike Mills
C’mon C’mon

Todd Stephens
Swan Song

BEST FIRST SCREENPLAY

Lyle Mitchell Corbine, Jr.
Wild Indian

Matt Fifer; Story by Sheldon D. Brown
Cicada

Shatara Michelle Ford
Test Pattern

Fran Kranz
Mass

Michael Sarnoski; Story by Vanessa Block, Michael Sarnoski
Pig

BEST CINEMATOGRAPHY

Ante Cheng, Matthew Chuang
Blue Bayou

Lol Crawley
The Humans

Tim Curtin
A Chiara

Edu Grau
Passing

Ari Wegner
Zola

BEST EDITING

Affonso Gonçalves
A Chiara

Ali Greer
The Nowhere Inn

Lauren Hadaway, Nathan Nugent
The Novice

Joi McMillon
Zola

Enrico Natale
The Killing of Kenneth Chamberlain

BEST FEMALE LEAD

Isabelle Fuhrman
The Novice

Brittany S. Hall
Test Pattern

Patti Harrison
Together Together

Taylour Paige
Zola

Kali Reis
Catch the Fair One

BEST MALE LEAD

Clifton Collins Jr.
Jockey

Frankie Faison
The Killing of Kenneth Chamberlain

Michael Greyeyes
Wild Indian

Udo Kier
Swan Song

Simon Rex
Red Rocket

BEST SUPPORTING FEMALE

Jessie Buckley
The Lost Daughter

Amy Forsyth
The Novice

Ruth Negga
Passing

Revika Reustle
Pleasure

Suzanna Son
Red Rocket

BEST SUPPORTING MALE

Colman Domingo
Zola

Meeko Gattuso
Queen of Glory

Troy Kotsur
CODA

Will Patton
Sweet Thing

Chaske Spencer
Wild Indian

ROBERT ALTMAN AWARD – Given to one film’s director, casting director and ensemble cast

Mass
Director: Fran Kranz
Casting Directors: Henry Russell Bergstein, Allison Estrin
Ensemble Cast: Kagen Albright, Reed Birney, Michelle N. Carter, Ann Dowd, Jason Isaacs, Martha Plimpton, Breeda Wool

BEST DOCUMENTARY (Award given to the director and producer)

Ascension
Director/Producer: Jessica Kingdon
Producers: Kira Simon-Kennedy, Nathan Truesdell

Flee
Director: Jonas Poher Rasmussen
Producers: Monica Hellström, Signe Byrge Sørensen

In the Same Breath
Director/Producer: Nanfu Wang
Producers: Christopher Clements, Julie Goldman, Carolyn Hepburn, Jialing Zhang

Procession
Director: Robert Greene
Producers: Susan Bedusa, Bennett Elliott, Douglas Tirola

Summer Of Soul (…Or, When The Revolution Could Not Be Televised)
Director: Ahmir “Questlove” Thompson
Producers: David Dinerstein, Robert Fyvolent, Joseph Patel

BEST INTERNATIONAL FILM (Award given to the director)

Compartment No. 6
Finland/Russia
Director: Juho Kuosmanen

Drive My Car
Japan
Director: Ryusuke Hamaguchi

Parallel Mothers
Spain
Director: Pedro Almodóvar

Pebbles
India
Director: P S Vinothraj

Petite Maman
France
Director: Céline Sciamma

Prayers for the Stolen
Mexico
Director: Tatiana Huezo

PRODUCERS AWARD – The Producers Award, now in its 24th year, honors emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity and vision required to produce quality independent films.

Brad Becker-Parton

Pin-Chun Liu

Lizzie Shapiro

SOMEONE TO WATCH AWARD – The Someone to Watch Award, now in its 27th year, recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition.

Alex Camilleri
Director of Luzzu

Gillian Wallace Horvat
Director of I Blame Society

Michael Sarnoski
Director of Pig

TRUER THAN FICTION AWARD – The Truer Than Fiction Award, now in its 26th year, is presented to an emerging director of non-fiction features who has not yet received significant recognition.

Jessica Beshir
Director of Faya Dayi

Debbie Lum
Director of Try Harder!

Angelo Madsen Minax
Director of North By Current

TELEVISON CATEGORIES

BEST NEW NON-SCRIPTED OR DOCUMENTARY SERIES (Award given to the Creator, Executive Producer, Co-Executive Producer)

Black and Missing
Series By/Executive Producers: Soledad O’Brien, Geeta Gandbhir
Executive Producers: Jo Honig, Patrick Conway, Nancy Abraham, Lisa Heller, Sara Rodriguez

The Choe Show
Creator/Exec Producer: David Choe
Executive Producers: Matt Revelli, Christopher C. Chen, Hiro Murai, Nate Matteson

The Lady and The Dale
Executive Producers: Mark Duplass, Jay Duplass, Mel Eslyn, Allen Bain, Andre Gaines, Nick Cammilleri, Alana Carithers, Zackary Drucker, Nancy Abraham, Lisa Heller

Nuclear Family
Series By: Ry Russo-Young
Executive Producers: Liz Garbus, Julie Gaither, Jon Bardin, Leah Holzer, Peter Saraf, Alex Turtletaub, Jenny Raskin, Geralyn White Dreyfous, Lauren Haber, Maria Zuckerman, Christine Connor, Ryan Heller, Barbara Dobkin, Eric Dobkin, Andrea Van Beuren, Joe Landauer

Philly D.A.
Creators: Ted Passon, Yoni Brook, Nicole Salazar
Produced By: Josh Penn, Michael Gottwald
Executive Producers: Dawn Porter, Sally Jo Fifer, Lois Vossen, Ryan Chanatry, Gena Konstantinakos, Jeff Seelbach, Patty Quillin
Co-Executive Producers: Nion McEvoy, Leslie Berriman

BEST NEW SCRIPTED SERIES (Award given to the Creator, Executive Producer, Co-Executive Producer)

Blindspotting
Creators/Executive Producers: Rafael Casal, Daveed Diggs
Executive Producers: Jess Wu Calder, Keith Calder, Ken Lee, Tim Palen, Emily Gerson Saines, Seith Mann

It’s a Sin
Executive Producers: Russell T Davies, Peter Hoar, Nicola Shindler

Reservation Dogs
Creators/Executive Producers: Sterlin Harjo, Taika Waititi
Executive Producer: Garrett Basch

The Underground Railroad
Creator/Executive Producer: Barry Jenkins
Executive Producers: Adele Romanski, Mark Ceryak, Brad Pitt, Dede Gardner, Jeremy Kleiner, Colson Whitehead, Richard Heus, Jacqueline Hoyt

We Are Lady Parts
Creator: Nida Manzoor
Executive Producers: Tim Bevan, Eric Fellner, Surian Fletcher-Jones, Mark Freeland

BEST FEMALE PERFORMANCE IN A NEW SCRIPTED SERIES

Thuso Mbedu
The Underground Railroad

Anjana Vasan
We Are Lady Parts

Jana Schmieding
Rutherford Falls

Jasmine Cephas Jones
Blindspotting

Deborah Ayorinde
THEM: Covenant

BEST MALE PERFORMANCE IN A NEW SCRIPTED SERIES

Lee Jung-jae
Squid Game

Olly Alexander
It’s a Sin

Michael Greyeyes
Rutherford Falls

Murray Bartlett
The White Lotus

Ashley Thomas
THEM: Covenant

BEST ENSEMBLE CAST IN A NEW SCRIPTED SERIES

Reservation Dogs
Ensemble Cast: Devery Jacobs, D’Pharaoh Woon-A-Tai, Lane Factor, Paulina Alexis, Sarah Podemski, Zahn McClarnon, Lil Mike, FunnyBone

ABOUT FILM INDEPENDENT

For over 40 years, Film Independent has helped filmmakers get their projects made and seen. The nonprofit organization’s core mission is to champion creative independence in visual storytelling and support a community of artists who embody diversity, innovation and uniqueness of vision.

In addition to producing the Film Independent Spirit Awards, the organization supports creative professionals with Artist Development programs, grants and labs. Signature mentorship program Project Involve fosters the careers of talented filmmakers from underrepresented communities. Weekly Education events and workshops equip filmmakers of all ages and experience levels with tools and resources. Global Media Makers, a cultural exchange program produced in partnership with the U.S. Department of State, provides career-building opportunities for international film professionals. And year-round screening series Film Independent Presents delivers monthly, unique cinematic experiences to Members in Los Angeles and beyond.

ABOUT IFC

IFC is the home of offbeat, unexpected comedies. Acclaimed series Documentary Now!, Brockmire, Sherman’s Showcase, Baroness von Sketch Show, Good Grief and Year of the Rabbit air alongside fan-favorite movies and comedic cult TV shows. IFC is owned and operated by AMC Networks Inc., and available across multiple platforms. IFC is Always On, Slightly Off.

Review: ‘Zola,’ starring Taylour Paige and Riley Keough

June 28, 2021

by Carla Hay

“Zola”

Directed by Janicza Bravo

Culture Representation: Taking place in Florida and briefly in Detroit, the comedy/drama “Zola” features a racially diverse cast of characters (African American, white and Latino) representing the working-class, middle-class and criminal underground.

Culture Clash: A stripper-turned-waitress in Detroit meets and quickly befriends a scheming stripper, who entices to the waitress to travel to Florida to make easy money stripping for a weekend that ends up wilder than they both expect.

Culture Audience: “Zola” will appeal primarily to people who are interested in dramedies about the perils of being a sex worker that are raunchy and violent with a quirky and sometimes off-kilter vibe.

The dramedy film “Zola” (directed by Janicza Bravo) has been getting a lot of comparisons to director Harmony Korine’s 2013 violent and hedonistic romp “Spring Breakers” and director Lorene Scafaria’s 2019 stripper crime drama “Hustlers.” It’s probably because all three movies, which blend carefree partying with an ongoing sense of danger, are about women unapologetically using their bodies and sex appeal to get what they want, as they have various levels of involvement with sleazy characters. “Zola” is not as hilariously bonkers as “Spring Breakers,” and it’s not as well-paced as “Hustlers,” but there are enough offbeat comedic moments and memorable performances for people curious enough to take this bumpy ride with two very different strippers.

The “Zola” screenplay, written by director Bravo and Jeremy O. Harris, is based on a series of real-life tweets made in 2015 by A’Ziah “Zola” King, who went on an epic 148-tweet rant about her misadventures during a stripper road trip with a fast friend who eventually became her enemy. (The movie’s prologue has a statement that reads, “What follows is mostly true.”) In real life, this friend-tuned-foe is named Jessica Rae Swiatkowski. In the movie, her name is Stefani Jezowski.

And in the beginning of the movie, Zola (played by Taylour Paige) gets right to the point when she says in a voiceover: “You want to know how me and this bitch here fell out? It’s kind of long but full of suspense.” Much of the comedy in the movie comes from the racial and cultural dynamics when Zola and Stefani (played by Riley Keough) end up clashing and getting on each other’s nerves.

Zola, who is African American, can best be described as a free spirit with boundaries. She has no problem with being a stripper, but she refuses to be a prostitute. She’s fun-loving but level-headed, trusting but cautiously jaded. Stefani, who is white, can best be described as someone with insecurities over her identity. Stefani desperately wants to sound like she’s a tough black person who’s “from the streets,” but she switches to an “innocent white girl” persona when it suits her. Stefani has no qualms about being a prostitute, and she’s very impulsive and manipulative.

Stefani (who is 21) and Zola (who is 19) meet one day when Stefani is a customer at the Detroit diner where Zola works as a waitress. (In real life, Zola worked at Hooters.) Stefani’s way of complimenting Zola is by telling her, “Damn, bitch. You’ve got perfect titties. I wish I had titties like that. They look just like little apples.”

Stefani’s date with her at the restaurant is a man named Johnathan (played by Nasir Rahim), who’s about 15 to 20 years older than Stefani. In reaction to Stefani complimenting Zola about Zola’s breasts, Johnathan says, “Oh, so you’re just going to pull that dyke shit in front of me and not include me.” Stefani replies like a gum-chewing teenager, “You’re so dumb!”

Stefani is so intrigued with Zola that she follows her into a back room for the diner’s employees only. Stefani tells Zola that she’s sure they’ve met somewhere before, so Stefani asks if Zola is a dancer. Zola says she used to dance, and Stefani’s eyes light up. She tells Zola that they should dance together sometime. Stefani also mentions that she’s a single parent to a daughter, whom she calls her baby, and shows Zola a picture of the girl.

In the beginning of the movie, there are hints that Zola and Stefani might be sexually attracted to each other. When they have their first conversation, the movie shows heart graphics on screen, as if there’s instant infatuation. Although it would be very predictable for Zola and Stefani to be openly bisexual and act on it with each other—a very common trope in stripper movies that are usually directed by men—Bravo doesn’t use that formula.

Instead, Zola’s attraction to Stefani is how easily Stefani can make someone feel like an instant best friend. Zola also seems fascinated by this woman who clearly wants to be accepted by the African Americans. And so, when Stefani calls Zola the next day to invite her to go on a road trip to Florida to make some easy stripping money, Zola is intrigued but doesn’t immediately say yes. Zola wants to know who else is going on the trip before she agrees to go on the trip.

One of the people on the trip is Stefani’s dimwitted boyfriend Derreck (played by Nicholas Braun), who is very passive and has anxiety issues. The other person on this road trip is in the driver’s seat, literally and metaphorically: a Nigerian immigrant who doesn’t have a name in the movie but who is listed in the film credits as X (played by Colman Domingo), who switches back and forth between his Nigerian and American accents. A recurring joke in the film is that people keep bungling X’s real name when they say it, so it’s unclear what his name really is. In real life, the alleged pimp’s name was Akporode “Rudy” Uwedjojevwe.

Zola has a live-in boyfriend named Sean (played by Ari’el Stachel), who isn’t thrilled that Zola will be going back to stripping, even if it’s only for a weekend. Zola has sex with Sean to ease some of his disapproval. She also convinces him that the trip will be good for them because they need the extra money. And so, when Zola gets into the black Mercedes SUV with Stefani, X and Derrek, she’s feeling pretty good about this trip to Tampa, Florida. That feeling won’t last long.

Within 24 hours, Zola finds out that X is Stefani’s domineering pimp. And he wants Stefani and Zola to turn tricks for him. He’s the type of gun-carrying pimp who will take all or most of his prostitutes’ money, and say it’s for their “expenses.” And when Zola tries to leave, X threatens her and tells her that he knows where she lives.

One of the biggest flaws in the movie is how supposedly street-smart Zola couldn’t figure out a way to leave this bad situation, since she’s not being held captive physically (she’s never tied up or locked in a room), and X isn’t with Zola and Stefani all of the time. Zola has her purse with her at all times. Couldn’t she use a credit card, debit card or another method to pay for a way back home? And if she was afraid to call the cops, why didn’t she at least call her boyfriend Sean to tell him what was happening so that he could help her get out of there?

The movie isn’t concerned about letting Zola find a way to escape because it’s implied throughout the movie that a big part of Zola likes to seek out danger as a way to bring excitement to her life. Zola’s biggest regret seems to be that she misjudged Stefani, who at first seemed like someone Zola could trust as a friend, but ends up being someone who becomes extremely annoying and mistrustful to Zola.

The best parts of “Zola” have to do with some of the “ratchet” banter between Zola and Stefani. There are also some characters they encounter who bring some laughs. In a strip club dressing room, there’s a hilarious scene of a stripper prayer huddle, led by a “large and in charge” husky-voiced dancer named Hollywood (played by Ts Madison), where the strippers pray for men with “good credit,” “culture” and “big dicks.” The stripper named Hollywood acts like a melodramatic church preacher who’s praying for a miracle.

There’s also a recurring catch phrase that Zola says in a deadpan voice when she’s stuck in a room where Stefani is having sex with someone: “They started fucking. It was gross.” And during a scene where Zola is on a strip club stage and getting a bill tucked into her bikini bottom by a middle-aged white customer, he says to her with some excitement, “You look a lot like Whoopi Goldberg!” It’s the movie’s way at poking fun at white people who think that all black people look alike.

The movie also parodies the racial differences between Zola and Stefani, in a segment where Stefani gives her “rebuttal” version of what happened, based on a series of Reddit messages that are re-enacted in the movie. In Stefani’s version, she’s an innocent Christian girl who was led astray by a “trashy” black woman. In this re-enactment of Stefani’s version of the story, Stefani is wearing a conservative-looking pink skirt and blazer and Zola is literally wearing garbage bags when they get in the car on the road trip. It’s an obvious commentary on how the race card can be played in trying to manipulate people’s perceptions of who’s “guilty” and who’s “innocent,” based on someone’s physical appearance.

Just like in “Hustlers,” the lingering camera angles on the stripper activities and dancer bodies are meant to be more sensual than exploitative. Pole dancing is presented as an athletic art form that requires talent in balance and precision. And although Stefani and Zola both have sex scenes and stripper scenes, neither has full-frontal nudity in the movie. It’s a very “female gaze” film because only men have full-frontal nudity in “Zola,” during a montage where Stefani entertains a series of customers in a hotel bedroom.

Zola, Stefani, X and Derrek are an unusual quartet that will keep viewers interested in seeing what’s going to happen to them. And without the talents of the actors depicting these characters, “Zola” wouldn’t be nearly as engaging. Ari Wegner’s cinematography is vibrant and eye-catching. It was influenced by Hieronymus Bosch’s “The Garden of Earthly Delights,” according to the “Zola” production notes. But how a movie looks won’t matter much if the movie’s characters don’t hold people’s attention.

Some of the movie’s editing gives “Zola” almost a hypnotic quality, particularly in scenes where Zola and Stefani stand in front of a mirror and seem mesmerized by their own images. As if to demonstrate how in sync they are before their friendship turns sour, there’s a scene where Zola and Stefani do their hair and makeup together with almost identical movements. However, as visually striking as many of the scenes are in “Zola,” the movie’s pacing tends to drag in the middle of the film.

There’s also a shady character named Dion (played by Jason Mitchell), whose intentions are telegraphed so blatantly, it leaves no room for suspense or mystery for why Dion is in the movie. He’s a stranger who chats up Derrek at the hotel where they’re staying at, and when Dion shows up again later in the movie, viewers won’t be surprised why. People can easily predict what can happen in any movie where a pimp with a gun carries around a lot of cash and makes it obvious that he’s traveling with prostitutes and no backup security people. The last third of “Zola” crams in an action scene that’s a little clumsily handled and fizzles out some of the naughty comedy that enlivens the movie.

“Zola” can also get a little too repetitive with the back-and-forth interactions of Stefani doing something to irritate Zola, and Zola reacting by calling her a “bitch” or some other insult. Derrek’s relationship with Stefani is exactly what you think it is: He’s madly in love with her and easily forgives her transgressions when she makes cutesy romantic talk to him. There’s no backstory of how Derrek and Stefani met and how long they’ve been together, but it’s clear that she’s not really in love with him and she’s just using him.

Very few movies can successfully balance violence and raunchiness with satire and emotional gravitas. “Zola” makes an attempt and often succeeds, but it’s a movie that might disappoint people who are expecting a more unique, madcap adventure. The movie also somewhat glosses over the real horrors of sex trafficking, just to get some cheap and tawdry laughs. Zola might be skilled at making sassy and salty remarks, but she’s got a lot to learn about being a truly powerful and independent woman.

A24 will release “Zola” in U.S. cinemas on June 30, 2021.