Writers and filmmakers in Zimbabwe have exhibited a great deal of ‘discontent’ in their representations of Shona men, often portraying them in highly negative terms. As Lahoucine Ouzgane and Daniel Coleman write, in discussions of masculinity ‘discontent is productive: it can motivate the search for change.’ Negative depictions of Shona masculinity pervade Zimbabwean literature and film. For example, in her novel Nervous Conditions, Tsitsi Dangarembga critiques Jeremiah's desire to possess Lucia through sexual conquest, Nhamo's conformity to masculine ideals, and Babamukuru's patriarchal attempts to control the women in his family. Likewise in her film Everyone's Child (1996), Dangarembga criticizes the predatory and brutal shopkeeper, who sexually blackmails the teenaged protagonist, Tamari, and forces her to abandon her family. In Under the Tongue (1996), Yvonne Vera creates a father who rapes his daughter, Zhizha, as well as a grandfather who heartlessly derides his wife for failing to produce a healthy male child. Godwin Mawuru (director) and Tsitsi Dangarembga (story) condemn the domineering and greedy brother-in-law Phineas in Neria (1992), alongside the patriarchal Shona custom of kugadza nhaka, through which the brother of a deceased man takes possession of his property, often including his widow and children. Chenjerai Hove critiques Chisaga through the eyes of his female protagonist Marita in Bones (1990) and Shona patriarchy generally in Ancestors (1996).