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Although the witch can’t physically harm Bol, the witch tortures him with visions of a ghostly Nyagak dead at sea. Bol is then attacked by Nyagak, wearing a tribal mask. When he returns, he insists that they are cursed through one of the objects from their home country.
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As a result, the man and his house were cursed and eventually destroyed. She then tells Bol that she has seen the ghosts in their home. Rial calls him a liar and says that they must repay their debt to break the curse. The apeth tells Bol, “No matter where you go I will follow. You are mine now.” and says that he must exchange his life for Nyagak.
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As Bol is being consumed, Nyagak appears and takes Rial’s hand. Bol goes to the mall (where he is shadowed the whole time by mall security) and buys Western-style clothes. When he returns home, he repairs all the wiring in the house (wounding his hand in the process).
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Mosaku, in particular, has a face and an implacable affect — grief and fear disguised as resignation — that prove to be this movie’s best special effect. She’s also its beating heart and most beguiling feature. With just a cock of her head to this side or that, with just a quick flash of steel in her gaze, she summarizes all the conceits brought to bear on the material.
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The film ends with Mark and two of his colleagues visiting Bol and Rial at their home. They have completely embraced their lives in London, which surprises Mark. Although it appears that they have made remarkable progress, it doesn’t mean that they have completely forgotten their past. Nyagak and every other person they have lost in South Sudan and on their way to England will now forever be part of their memories. The month ahead will bring new films from Alex Garland, Luca Guadagnino, Dev Patel, and more.
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Educational, profoundly scary and an experience that delights in taking unexpected routes, this film is one of those debut features that makes you want to keep track of everything a director does from here on out. I very much enjoyed this...it's not exactly a horror film the way it was advertised but it was well paced and executed. It's definitely a conversation starter with it's themes on pain and grief. Featuring genuine scares through every corridor, His House is a terrifying look at the specters of the refugee experience and a stunning feature debut for Remi Weekes. One of the most pressing issues for the incumbent president going into the election is Israel’s war in Gaza, which has lost him vital support among left-leaning Democrats, imperiling his reelection prospects. Over several hours, including a four-hour session Friday night, Biden aides worked with the president to tweak his delivery and tone, according to the outlet.
While he is in a trance-like state Rial manages to escape the house but finds herself in a traumatic memory from Sudan where she hid in a cupboard while a massacre of women took place. The apeth implores her to give his her husband’s flesh. First-time director Remi Weekes serves up plenty jump scares, but his real-world terrors are much more frightening.
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They and Bol’s wife Rial (Wunmi Mosaku) get on a truck on their way to leave war-torn South Sudan. While they are on a boat traveling to Europe, several passengers, including Nyagak, drown. After Bol and Rial finally reach England, they are kept at a detention camp for a prolonged period. We rank every one of the British director's movies by Metascore, from his debut Lock, Stock, and Two Smoking Barrels to his brand new film, The Ministry of Ungentlemanly Warfare. A multi-layered British-set haunted house film that skillfully weaves socio-political commentary, an engrossing character study, and unnerving visual frights ... Cinematographer Jo Willems coordinates tightly with production designer Jacqueline Abrahams to emphasize a palette of chilly blues and nacreous teals in the U.K.
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As for the ghosts, she says they are still with them, and always will be as the ghosts are part of who they are. But the two affirm they will live with the ghosts while making a new life together. The film ends with Bol and Rial peacefully sitting with the ghosts of their past.
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Rial then walks out of the bedroom dressed in the Sudanese clothing and necklace that Bol had burned. She tells Mark that the apartment has been destroyed because they are being haunted by ghosts and a witch. Mark says he is going to report the couple to his supervisors (with the implication being they will be sent back to South Sudan). When Mark leaves, Bol and Rial fight with each other over where they belong.
When he goes out for air, Bol’s neighbor tells him he should just leave the home as they will be sent back to Africa no matter what. The film jumps ahead to Bol and Rial in a detention center. They are summoned by government bureaucrats who tell them they are in luck.
The Majurs are refugees from South Sudan who escaped in the tragic boat accident shown in Bol’s nightmare. After being detained for a period of time, Bol and Rial are released “on probation” to a house in an unnamed English city (when Rial asks someone if she is in London, the answer is noncommittal). It’s implied that a house like this, in disrepair and crawling with vermin, is a typical government rental for people like the Majurs. Their case worker Mark (Matt Smith) and his cronies keep stating that this particular house is bigger than their own houses, their voices hinting at a dark sense of entitlement. More blatant is Mark’s repeated mantra that his newest reports should “be one of the good ones” and assimilate as quickly as possible.
Still not at peace, Bol tries to throw himself at the mercy of the councilman Mark (Matt Smith) begging him to house them somewhere else and claiming there are rats – when Mark visits, Rial insists on telling him about the witch. As the house deteriorates further and further the film leads us to a first shocking but then redemptive conclusion. Despite its failings, the film is worth watching for the good work from its two leads, and because there are some sorts of horror that don't get talked about nearly as much as they should.
The power of the movie, in the end, is in giving that world substance. That, and allowing our own fears to bring it to light. Well, theft is quite a concept in a movie about refugees. And Bol and Rial, as evocatively embodied by Dìrísù and Mosaku, are rightly conflicted.
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