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The Guardian

Rory McIlroy surges into six-shot Masters lead with stunning second-round flourish ‘That’ll be the end’: actor Sam Neill joins fight to stop controversial goldmine near his New Zealand vineyard Roberto De Zerbi targets ‘Ange-ball’ revival to save Spurs from relegation Bath hit back to reach semi-final after stunning Northampton in 11-try epic Secret Garden to Outcome: the week in rave reviews Zebras, wealth and power: Hungary’s election tests Orbán’s grip on power ‘TikTok effect’ brings sellout crowds and younger fans to Grand National meeting The war over Omagh’s gold: the £21bn mine plan tearing a community apart Britain’s shadow workforce is paid as little as 65p an hour. Who cares for the carers? From You, Me & Tuscany to Euphoria: your complete entertainment guide to the week ahead Six great reads: the man who let snakes bite him, masked heavy metal and the brutal reality for foreign students in the UK American Classic review – I defy you not to fall in love with Kevin Kline and Laura Linney’s tender comedy Cuba’s doctors were a lifeline for the world. Now the Caribbean is shamefully complicit in the US drive to expel them An environmental disaster in Moldova has Russia’s fingerprints all over it RMIT drops misconduct case against student who accused university of being ‘complicit in Gaza genocide’ Ichiro Suzuki statue unveiling goes awry as bronze bat snaps during ceremony Survivors of Epstein’s abuse accuse Melania Trump of ‘shifting burden’ on to victims European football: Real Madrid held at home by Girona to extend winless run Arne Slot insists he is ‘aligned’ with Liverpool board and fans as squad is rebuilt Kamala Harris ‘thinking about’ running for president again in 2028 JD Vance warns Iran against trying to ‘play’ the US in peace talks West Ham double up twice to thrash Wolves and put Spurs in relegation zone Trump administration releases new renderings of so-called ‘Arc de Trump’ Crispin Odey drops £79m libel claim against FT over sexual misconduct allegations Bafta apologises for events surrounding John Davidson’s Tourette’s outburst Cocktail of the week: Bar Shrimp’s la rosita – recipe New drug may extend survival in aggressive ovarian cancer, trial shows One dead and 27 injured after bus with British passengers crashes in Canary Islands Pope adds to Smith’s mass of Surrey runs with England woes a world away OpenAI CEO Sam Altman’s home targeted with molotov cocktail
Fight Like a Girl review – fiercely authentic setting lif...
Cath Clarke · 2026-05-20 · via The Guardian

Here is an underdog boxing movie from the Democratic Republic of the Congo that has a powerful, heart-wrenching true story behind it – as well as featuring a compelling performance by young South African actor Ama Qamata. She plays a teenage victim of the widespread sexual violence against women and girls in the DRC, who is discovered by a boxing coach while living homeless on the streets. It’s directed with a steady hand by American film-maker Matthew Leutwyler who puts together an earnest heartfelt drama that doesn’t look away from the horror, but chooses to focus on the strength and resilience of women and girls.

Qamata plays Safi, a teenager working in slave-like conditions in a mineral mine. One day she escapes, reaching the city of Goma barefoot, where she finds a scrap of kerb to sleep on, surrounded by thugs and spaced out kids sniffing glue. It looks so real that it has to have been filmed on the actual streets; no amount of street casting and set design could recreate how raw and edgy this feels. Flashbacks show Safi’s life as a child living happily with her family and explain how she came by her ferocious right hook.

One day, Safi meets real-life boxing coach Balezi “Kibimango” Bagunda (played here by Hakeem Kae-Kazim), a former child soldier turner boxer who trains a team of female fighters. The script ticks off practically every boxing movie cliche as Safi begins training at Kibimango’s gym, where the star fighter is a woman called Aisha (played by boxer Clarck Ntambwe, who was the film’s inspiration). These moments are formulaic but there is emotional power in the performances from the cast, many with lived experience of wartime atrocities. There’s a devastating twist in the end credits, with news that Kibomango was killed in 2025 while evacuating children from a local orphanage.