A story is often only as good as its storyteller. This is the case with the 2015 viral Twitter thread by Aziah “Zola” King, which serves as the basis for A24’s new film Zola. A stripper road trip saga characterized by an onslaught of progressively distressing events should not be as exciting as it is. But Zola’s charismatic description of her nightmarish weekend captured the attention of thousands when she first tweeted it. Now, nearly six years later, it makes for an equally enthralling if more subdued film adaptation that skillfully understands that its greatest asset is its heroine.
Both the film and Zola’s original twitter thread begin with the now legendary opener: “Y’all wanna hear a story about why me & this bitch here fell out???????? It’s kinda long but full of suspense.” The “bitch” in question is Stefani (Riley Keough), a blaccent-using fellow stripper and the film’s second lead. Zola (Taylour Paige) meets Stefani in Detroit while serving her at her restaurant job. After discussing their shared career in stripping, the two form a quick and intense bond that leads Stefani to invite Zola on a road trip to dance in Florida. Accompanied by Stefani’s moronically lovable boyfriend Derek (Nicholas Braun) and her older roommate X (Colman Domingo), the two set out to make some “shmoney.” Soon after, Stefani’s initial glow wears off and Zola quickly warns the audience to “watch every move this bitch makes.”
What follows is a dangerously captivating tale of sex trafficking, jealousy, treachery, and murder. At some points, it does seem just too messy to be true, but the reality is sex trafficking is a violent crime that could affect anyone. What makes Zola’s story stick out in particular is Zola herself. With her incredulous deadpans and hilarious judgments, the story works only because she’s the one to tell it. It’s evident that writers Janicza Bravo (who also directed the film) and Jeremy O. Harris understand this. With the script and the production design, they create a world that’s just as exciting to look at as Zola’s tweets were to read. Though the story itself is not a fairytale, there’s a whimsical harpsichord score, glistening lights, and a plethora of mirrors that create a bedazzling, dreamlike atmosphere. It’s this entrancing style that draws the viewers in and subverts their expectations. This is not a badass action film, but a deliciously dark comedy grounded by a phenomenal protagonist who is incredibly easy to root for. She’s written as likable as she was to read and costumed in beautiful color-coded matching sets. Additionally, the writer’s inclusion of a little segment titled “@stefani” that exposes the real-life Stefani’s side of the story playfully rids the audience of any pity they might have for her character. It’s something you wouldn’t get from the original tweets. It’s also completely hysterical and intentionally establishes a difference between our beloved protagonist and her friend.
The film also greatly benefits from the performances of the cast. Riley Keough shines in what TikTok users would call a WoahVicky persona (an infamous social media personality known for her appropriation of Black culture), taking her performance in American Honey up several notches. Colman Domingo also proves he’s one of the most exciting actors working today with his hilariously maniacal performance as X. Though she’s our heroine, Paige’s performance as Zola does take some getting used to. She’s not as initially charismatic as the tweets might lead you to believe, but as the movie moves along her chilly humor makes perfect sense. But the most memorable comedy comes from Nicholas Braun, whose blissfully idiotic line delivery and actions are the perfect antidote for the film’s most tense moments.
While King’s original thread didn’t tell an inherently “online” story, it’s clear that Zola (aptly styled as @zola for the film’s title card) is an Internet movie, though not in the typical sense. It’s not some sweeping declaration about Internet culture; rather, it’s an homage to the site that brought her story to life. The script is littered with direct quotes from the thread, often as voiceover freeze frames for dramatic effect. Hammering the point home, these tweet drops are accentuated with Twitter’s signature chirping notification noise. Bravo shows a reverence for social media/technology throughout and decides against preaching about its issues. Sure, there are parts of the story that could’ve been prevented had it taken place, say, 20 years prior, but Bravo doesn’t dwell on that. She also doesn’t bombard the audience with social media the way other films have done in the past. Though Zola’s tale is often labeled a “twitterstorm,” we never actually see a Twitter or text page on the screen. The messages are either read aloud or implied. It’s rare to see such respect for an often misinterpreted part of culture, and hopefully, this depiction sets a precedent for more nuanced portrayals of the online world. But the film has trouble with its ending. Opting not to use Zola’s “where are they now” recap from the original thread, the ending leaves the audience with unanswered questions, especially for those who might not have read the thread beforehand.
The fact that Zola’s thread went viral in the same month as the release of Adele’s “Hello” and the presidential primary debates clearly demonstrates the power in her storytelling. Now, Zola gives a new audience a chance to enjoy what Rolling Stone dubbed “the greatest stripper saga ever tweeted,” in a delightfully dark film that truly honors the woman who started it all.
