All those immigrants come to their new country with hope. Asylum seekers, who leave their homeland due to war or other upheaval, bear the heaviest burden – they are weighed down by palpable trauma. Even when they reach another country, their fate is still in danger. For example, the United States only granted asylum to more than 30% of applicants in 2019. In the same year, the UK’s acceptance rate was somewhat better, at 58%. But even asylum-seekers who achieve asylum status are subject to some harsh requirements, or risk deportation. The immigration system is filled with inherent horrors and a new movie about Netflix̵7;s haunted house His house exposing many of them.
Bol (Sope Dirisu, AMC’s Gangs in London) and Rial (Wunmi Mosaku, HBO’s Lovecraft Country) are refugees who fled with their daughters from war-ravaged South Sudan. To escape, they first board the barreled flat plate of a pickup, then bravely cross stormy waters on an overburdened motorboat. Although they survived a dangerous border crossing, their daughters and many others did not. That pain haunts Bol and Rial. Finally, when they were granted asylum in the UK, three months later, the government assigned them a shabby house on the outskirts of London. And then the ghosts of their past started to live again. Director Remi Weekes ‘debut not only exposes the horrors of the immigration system, but also exploits the survivors’ guilt for a smart, cold-hearted horror film.
The Sudanese couple are symbols of two paths that immigrants are forced to travel between their new countries. Bol tries to assimilate. He sings songs about football, asks Rial to use utensils instead of her hands when they eat, and even changes the way he dresses, opening the movie in a brown velvet shirt, and then switch to a light gray polo shirt. He wants to prove to the government that he and Rial are one of the “good guys”. On the other hand, Rial sticks to their culture. She keeps the necklace of their daughter, wears colorful clothes, and instead of using the table, she sits on the floor to eat. Their varying responses allow the Weekes, through their stressful scenarios, to explore future fears.
And a lot of fear. The Weekes thriller evokes ambiguity and ambiguity that happens during the night. For Bol and Rial, it started with the sound of children giggling, and then with their footsteps. So many ghost stories take too long to tease fear. Weekes, on the other hand, did not hesitate to show his horror, to the hair-nape effect. He started off with fierce dance threats. The ghosts in His house moving mainly in the dark or behind a wall, letting the viewer hear them, but not see them until they strike. And they attack often. Weekes is also based on a cunning blend of visual effects and reality: from the heights of another world, vampires jump down to stab a knife into Bol, to images of decomposing faces. , and the sea full of Bol’s dead bodies causes hallucinations. It was a tactile supernatural violence.
Most haunted houses are of the gothic type, or in the case Paranormal activity, smart suburb. But the mansion is deteriorating His house knock those expectations down. The neighborhood trash – a broken couch, mattress and patio bench – litter the main characters’ yard. The exposed wiring zigzag through holes in their dilapidated interior walls. Often the holes are filled with faces of ghosts, a terrifying effect of reality. Bol and Rial have no landlord for necessary repairs. Even their good probation officer Mark (Matt Smith, from Which doctor and Crown) impose penalties rather than help, threatening that any claims about the home could interfere with their asylum application. The set-up is an ingenious reorganization of the old type of haunted house that has kept a family from leaving a cursed home. In His house, any attempt to secure a new residence would be deemed a violation of Bol and Rian’s refugee status, and could result in deportation. It’s a familiar dynamic, but rarely refocused so it applies to a specific Black immigrant trauma.
But the house not only exposes their loneliness and vulnerability to the legal system. It combines with their mundane but threatening neighbors to explain their mental state. In a praise The ShiningRial, for example, left the couple’s home to visit her doctor. Disoriented by her new surroundings, she finds a boy kicking a ball against the wall. Either way, she could not escape seeing the boy again. The Maze is simply how Weekes skillfully capitalized on reality to unravel how to learn about an unfamiliar land that brings its own fears. Similar paranoia permeates the couple’s whereabouts. The ghosts in the wall are metaphors for the painful memories of the couple, emerging from fissures in their subconscious.
His house will form a great suspenseful dual feature with Mati Diop’s ghost story Atlantics. Both watched Africans cross dangerous open seas in search of a better life in Europe, only to fall into a watery grave. But both also show that dead travelers seek revenge in the afterlife. While the ghosts in Atlantics Retaliated against capitalist manipulation enemies, who denied their brighter future, the vampires in His house target their fellow immigrants. The specific reason why is that the great mystery of the horror film, when revealed, reveals the impossible decisions necessary for survival.
Because the focus of this ghost story is the survivor’s guilt. Mark mentions that normally, eight or nine refugee families can share the same house – a little clever omen – but Bol and Rial already have their own new homes. Bol frankly asked, “Why are we so special?” Bol’s repetitive saying “We are one of the good guys” suggests the same message: He believes they survived for a reason, while others did not. Even so, they can’t get rid of the feeling they shouldn’t be living. When Bol and Rial collided, then disbanded, both Dirisu and Mosaku endured that fatigue through engaging, lively performances.
Not every element’s though His house functioning, the way neighborhoods react to their presence does not bring enough real fear to Africans in white environments. Instead, Weekes used a few clumsy local black kids. But the dramatic, deep-emphasized parts – especially the final frames of the film, an array of images that deliver a powerful wave in a sea of pain. Weekes’ His house is a terrifying debut blowing a fresh voice into the haunted generation.
His house Was is now available for streaming on Netflix.