It’s difficult to decide which accolade most efficiently introduces Susan Chardy. On the one hand, she’s the wickedly talented actress boasting a lead screen debut in A24’s newest gem, On Becoming A Guinea Fowl. On the other, she’s Global Fund for Children’s new Global Ambassador, continuing her devoted mission to promote and preserve human rights following a fifteen year commitment to the Nelson Mandela Children’s Fund UK. THE REAL sat down with Susan to talk Cannes, A24 and the electric nucleus of art where film and social issues collide.
by Maisy Nichols
Congratulations on your leading role in On Becoming a Guinea Fowl! The film features this brilliant blend of magical realism and sharp comedy; how would you sum up what people can expect from it?
Thank you! I’d say the journey begins with laughter and intrigue as you uncover the story, enjoying moments of lightness and humour along the way. But before you know it, you might find yourself metaphorically venturing down a darker, more unexpected path—one that stirs deep emotions and possibly even rage. The resolution, however, is left entirely up to you – it’s what you make of it and there is a beauty in interpreting that for yourself.
Tell us all about your experience at Cannes! How did it feel to represent a film made by Zambian creatives?
The glitz and glam of Cannes was, of course, incredible—it’s the Cannes Film Festival, after all! You lap up every second of it, especially when it’s your first time there. While I’m no stranger to cameras and red carpets, nothing could compare to the deeply emotional experience of seeing myself on the big screen, surrounded by friends and family. Pride and honour are the first words that come to mind, but they don’t even begin to encompass the immense gratitude and patriotism I feel for being part of this project.
Representing the film at Cannes was a dream I hadn’t even dared to imagine until Rungano called and said, “We’re going to Cannes!” If someone had told me I’d one day be in a Zambian film, made by a Zambian, in my mother tongue, with fellow Zambians, and that it would premiere at Cannes and other renowned festivals—I wouldn’t have believed them. And yet, there I was, in Cannes, watching myself on the big screen in an A24, BBC Film, Element Pictures, and Fremantle ZAMBIAN film! It was surreal, and I will cherish it forever.
Dress: Lurline
Earrings: Rachel Jackson
Rungano Nyoni absolutely smashes it as director here, even scooping up a “Best Director” trophy. Were you familiar with her work before your involvement on this film? What was your initial reaction to Rungano’s previous hit, I Am Not A Witch?
I wasn’t familiar with Rungano’s work until my agent at the time mentioned that she and Isabella Odoffin were casting for her new movie and thought I should go for it. Naturally, I watched I Am Not a Witch, and my immediate reaction was, “I need to be in her new film!”
I had never seen my culture portrayed with such poise, mystery and elegance, and with a production value that felt rare for a story like this. The cinematography, led by David Gallego, was breathtaking – capturing the story with a richness and scale that truly stood out. Hearing my language on screen and witnessing this hauntingly beautiful piece of cinema made me feel an immense pride – not just for the film itself, but for Rungano and Margaret Mulubwa. And I hadn’t even met them yet.
Why do you think audiences trust A24 so much with their attention? How important is it to you, as an actor, that this upwards trend in support of indie production houses continues?
A24 audiences feel like a devoted cult in the best way. They’re die-hard fans, and it’s easy to see why. The films A24 chooses to champion are always unique, captivating, and thought-provoking. OBAGF being part of their lineup is such an honour, placing it alongside other brilliant, boundary-pushing projects they’ve brought to our screens.
Indie production houses like A24 are vital for the industry. Their storytelling broadens perspectives, pushes creative boundaries, and gives voices to stories that might otherwise go unheard. Indie films offer a space where art can breathe freely, empowering the filmmakers, actors, and creatives involved. They also provide an essential platform for emerging talent, both behind and in front of the camera, while introducing audiences to fresh, bold visions. Supporting indie films is not just about cinema – it’s about championing diversity, discovery, and innovation.
The film tackles pressing topics like sexual abuse and women’s rights within the context of Zambian culture. How did your experience with human rights philanthropy work aid your acting process for this role?
My experience with human rights philanthropy has definitely shaped my approach to roles like this one. Having been involved with causes that empower and advocate for marginalised communities, I’m constantly reminded of the importance of authenticity, empathy, and understanding the real-world implications of issues like sexual abuse and women’s rights. These experiences allowed me to approach the role of Shula with a deeper sense of responsibility and sensitivity.
My work with organisations that focus on female youth empowerment has helped me grasp the nuance of such delicate topics, especially within specific cultural contexts. Zambian culture, with its rich traditions and complexities, required me to fully immerse myself in its intricacies and understand how these issues are not only personal but often rooted in the broader societal fabric. I wanted to portray Shula with honesty and respect, which meant understanding the cultural dynamics at play and how they influence the way these subjects are dealt with.
I hope this role, alongside my activism, can shed light on these vital conversations and inspire others to reflect on how we can contribute to changing narratives and making a visible impact.
Rungano also uses comedy throughout the film’s narrative, sewn amongst these difficult discussions; why do you think comedy and drama go together so well, concerning topics that society is less happy to talk about?
I believe comedy can make the message easier to deliver, but not always easier to swallow. In life, few of us have the bravery to express the unfiltered truth of what’s in our hearts and minds. It’s truly a gift to do so. For those who can’t, comedy often becomes a way to cushion the delivery – a winding road instead of a direct path.
Elizabeth, who plays Nsansa in the film, captures this dynamic so beautifully. Her humour is both disarming and heartbreaking. You find yourself wanting to laugh at the words because they’re genuinely funny, but you are unsure if it is alright to do so.
This style of dark comedy is something I admired in Rungano’s I Am Not A Witch, and she brings it to life so brilliantly in this film as well. It makes her storytelling unique and unforgettable.
White top: Self Portrait
Trousers: Vintage
Shoes: Manolo Blahnik
Earrings: Vintage Chanel
Speaking of philanthropy, let’s talk a little about Wimby Wednesday. It’s such a unique idea, connecting fundraising to Wimbledon, which has traditionally been viewed as a hyper-privileged, insular event; how did the idea first come about?
My husband recently retired as a professional tennis player, and I spent a lot of time traveling on tour with him. Being around so many talented players, their partners, and friends, I noticed there was a space for them to use their large platforms for good.
As “tennis WAGs (if you will),” we’d often meet up for lunches or dinners in different cities during the tour. One day, I thought, Why not do this but add a meaningful element to it? We could still enjoy catching up while supporting causes that matter. For me, it made sense that in a world that, as you say, is as hyper-privileged as tennis, we could use that privilege to make a difference. Tennis is not a cheap sport, and many fans and people in the community have significant resources. So why not influence where some of that money or energy goes—if they happen to be looking for ideas?
Wimby Wednesday isn’t just about fundraising. It’s also about encouraging people to use their time or platforms to raise awareness for causes they feel connected to. Each year, I introduce my guests to a different cause, hoping that even a handful will dive deeper and join its mission. So far, it’s been successful. And I hope WW aids those on their philanthropic journey.
Do you feel that actors, or all creatives, have an obligation to use their platform for positive change? Do you think what we’re expecting of celebrities is shifting?
I absolutely believe that everyone with a platform, no matter its size, has a responsibility to use it for positive change. That change can look different for everyone – it could mean shining a light on causes you’re passionate about, fundraising through your platform for that cause, or simply being honest and mindful about the way you present yourself to your audience. Authenticity and transparency matter, and we all have a duty, as part of our “rent” for living on this planet, to be of service to it and to others.
Celebrities, in particular, have massive platforms and hold incredible influence, so it’s always inspiring to see those who use their reach to make a difference. That being said, I also know many celebrities who contribute meaningfully behind the scenes, without publicising their efforts.
Fans today do want to see celebrities stepping beyond their “celeb status”. It’s a shift that I welcome, and it’s a reminder to all of us, me included, that we can always be braver and do more.
Dress: Lurline
Shoes: Manolo Blahnik
Earrings: Rachel Jackson
Are there any social topics that you think film still hasn’t sufficiently dug into yet? Is there a specific issue that you’d love to bring to audiences with the right script?
Wow, what a tough question! I love the vision of bringing together a collective of some of the greatest minds in cinema, as Quincy Jones did with We Are the World, (if you are too young to remember this, watch the Netflix documentary) but for film. The potential to unite brilliant writers, producers, actors, and creatives from all corners of the industry to create something monumental for humanity would be amazing. A project where even the smallest role contributes to a larger purpose, working together to put aside egos for the greater good—it could have a profound impact. The idea of creating a film that not only showcases incredible talent but also raises awareness about the important issues humanity is facing is inspiring. Someone please write it and call me – this is evidence of my idea, and I need to be involved ;-).
There are a lot of painful but beautiful stories of resilience, love and grit that get lost in the depths of conflict, particularly those of women and children. We are sadly living in a world where women and children are often marginalised or seen as disposable, it’s heartbreaking. Imagine lying down to sleep, uncertain if you will wake up to another day, or if your home will be reduced to rubble by a bomb. Imagine facing an impossible choice between hunger and the horrors of sexual violence. These are the brutal realities that so many endure every day.
As my friend Misan Harriman, a fearless voice for justice, often says, “Children are a red line.” I couldn’t agree more. We’re also witnessing a devastating rise in gender-based violence – an epidemic that needs to stop.
Our world needs the strength of a mother to nurture and protect the children who are our future and a wife to guide the trajectory.
I dream of a story that doesn’t shy away from the pain and darkness we face but offers a vision of hope—a script that lights the way out of this disgraceful tunnel we find ourselves in. These stories are not just entertainment; they are a call to action, a beacon of hope, and a reminder of the light we can all help create.
You’ve had a stellar lead screen debut. What are you looking forward to? And what can we expect next?
Thank you! I’m really looking forward to exploring new genres and honing new skills for my next role. I thrive on immersing myself fully in a character, so you can expect to see someone very different from Shula next. As they say, variety is the spice of life!
On Becoming a Guinea Fowl premieres 6th December at The Ritzy, Brixton
Follow Susan Chardy on Instagram @susanchardy
Team credits
Photographer: David Reiss @davidreissphotography
Stylist: Miranda Almond @mirandaalmond
Hair Stylist: Deborah Lola @deborahlola
MUA: Maria Asadi @mariaasadimakeup
Team:
Photographer: David Reiss @davidreissphotography
Fashion Stylist: Miranda Almond @mirandaalmond
Hair: Deborah Lola @deborahlola
MUA: Maria Asadi @mariaasadimakeup
