Zola Just Doesn't Live Up to Its Exhilarating Source Material
The movie doesn’t, and maybe never could, live up to the initial hype of the viral thread
EntertainmentMovies
Screenshot: A24/Youtube
The night @zolarmoon dropped her famous 148-tweet thread story, a wild and terrifying nightmare tale of stripping and sex work in Florida, it felt more like taking in a Hollywood drama than reading a Twitter thread. Dashed out in speedy, 140-character increments, the stripper Aziah “Zola” King ratcheted up tension tweet by tweet, writing a digital blockbuster that attracted millions eagerly refreshing her thread for the next dispatch in her saga.
It’s not surprising that Hollywood looked at King’s tweets and saw dollar signs; the story had the potential to be a flashy, big-budget spectacle. But the problem, as A24’s new film Zola shows, is that the cinematic drama of King’s story was due largely to her voice as a writer and her chosen medium. King’s story was exhilarating, but it was especially compelling because Twitter wasn’t yet a medium where people told their near-death, crazy experiences with such dedicated specificity and humor. Zola is an adaptation that honors the story’s digital genesis in freaky, creative ways, but it also feels like witnessing the remnants of a sputtering, failed firework, a movie that doesn’t (and maybe never could) live up to the initial hype of its viral drop. Rather than capture the intensity of the original thread, Zola plays like an experiment in translating one woman’s social media posts into a feature film that feels eerily disconnected from reality.
Zola, directed by Janicza Bravo who co-wrote the screenplay with playwright Jeremy O. Harris, isn’t really an adaptation of King’s story. Instead, it’s an adaptation specifically of her tweets, retaining the choppy, clipped pace of King’s original thread rather than settle for a traditional arc. King’s tweets were selectively concise in the way any social media post is, zooming from location to location to get to the point, boiling conversations down to their extremes, letting us in on her internal monologue to offer a “…chill” and “oooommmgggggg really?!” Another director and writer would have taken King’s story and sanded its edges, blown up the characters into cartoonish extremes, and filled in the script with crazier scenarios within the confines of a clear narrative—all the makings of a Big, Crowd-Pleasing, Hollywood Movie.