His House movie review & film summary 2020

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• What's the Story?

And that dose of reality is where His House proves inventive. Elaborating on the source of all this spookiness wouldn’t be entirely fair to the movie. Suffice it to say that the title eventually beckons the question of whose house we’re in, exactly. The movie’s answer to this is not quite what you’d expect.

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(With their first step over the threshold, the front door comes off its hinges.) But terrible dreams disturb their sleep, and things go bump in the night when they’re awake. Even in daytime, a trip to the doctor’s office for Rial seems to turn into a maze of alleys that keep taking her back to the same sinister child kicking a ball against a wall. Too frightened to talk to the white people, she approaches a trio of black youths for guidance, but even they mock her accent and intentionally point her in the wrong direction, a scene that slyly upends viewer expectations. In a grotty British detention center where bored officials barely look up from their cellphones while Bol and Rial’s case is heard, it’s decided that the couple are to be granted temporary permission to stay in the U.K. They must not take any paid employment, and survive only on their meager benefits from the state. A social worker (Matt Smith, of Doctor Who and The Crown) shows the desperately grateful pair to their new home, an extremely dilapidated, if spacious, apartment in a bleak housing estate on the edge of London.

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Though supportive of Bol’s attempts to get along, Rial’s feelings about her current situation are more complex. At a doctor’s appointment, she explains the markings on her skin as the symbols of both warring tribes in her homeland. The enemy symbols she carved herself, not just as a means of protection, but also as a physical manifestation of her sense of not belonging anywhere. Still, at the height of the Majurs’ terror, Rial is willing to do what the mean Black Brits she encountered suggested.

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The film tells the story of a refugee couple from South Sudan, struggling to adjust to their new life in an English town that has an evil lurking beneath the surface. Netflix winds down its deluge of October horror movies with His House, about a Sudanese couple who picked up a specter or two while fleeing their wartorn country for England. The first feature by director Remi Weekes may be an argument that the ghost story isn’t dead; it may also show that Netflix was saving its scary best for the final stretch of the season. An ‘apeth’ or Night Witch is a figure from Dinka culture. Rial explains that her mother used to tell her a story of a good man who wanted his own house so desperately that he began to steal from other people.

Their refusal to go back from whence they came is as adamant as Bol’s yearning to stay in England. Unlike him, they do offer a scenario for their acquiescence. Bol angrily eats his dinner (with silverware) when he realizes he has been transported inside a vision. Watery corpses rise from the water and approach him.

It’s the one time where reality becomes even more disturbing than any supernatural element, muddying the waters on how we feel about everything that has come before. It also makes us consider our desire for retribution, then upends it with an act which shows that we are outsiders who will never fully comprehend neither the shared pain of the Majurs nor what they were willing to do for survival and for love. We are left with the sobering notion that trauma will always occupy a room in the houses our psyches build. To not acknowledge its presence only makes it bang harder on the walls. Jumping ahead in time, Mark and his supervisors arrive for another inspection.

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The tensions that grow between them are energizing and interesting. Bol’s overwhelmed mania is like something out of The Shining, a man driven mad by his environs, as well as by his own desire to give in to what England wants and assimilate. (A scene of him shopping for a shirt, with white men in polos looming large on the store’s walls, proves effective at selling us on this idea.) Rial, by contrast, is relatively cool — less perturbed, at least on the surface.

Bol tells a little white lie, the harmless kind that couples often use to avoid a more potentially fraught truth-telling. Rial escapes the house but finds herself inexplicably back in South Sudan in a familiar classroom. She is reunited with old friends, who are revealed in a further flashback to be victims of a horrendous massacre. Bol finds her and they escape as violence grips the region, but find that a bus they need to board would only let people with children on. Desperate, Bol sees Nyagak in the crowd and abducts her, falsely claiming that she is their daughter.

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As a result, Bol’s attitude becomes as ominous as the specters who visit every night. “One of the good ones” is uttered multiple times in “His House,” giving the sense that this type of microaggression will be at the forefront of the film’s haunting. But Weekes relegates it to the background, keeping it in the corners of reality rather than informing the supernatural. Instead, these ghosts are symbolic stowaways on the migration.

Yet another addition to Netflix’s impressive Halloween 2020 collection, the British horror-drama ‘His House,’ is directed by first-timer Remi Weekes, who also wrote the screenplay, adapting a story Felicity Evans and Toby Venables. The film follows a refugee couple from South Sudan who sacrificed much to get to England. After spending an initial period at a detention camp, they are allocated a house. Comparisons are likely to be made to Jordan Peele’s Get Out and Us because of the way the film sieves issues of race and cultural displacement through the mesh of genre. But while the analogy is understandable, His House has its own unique valence, one specific to the British and African settings where its story unfolds. Where Peele’s films tie their horrors to the original sin of slavery, racism and class in America, Weekes’ script, based on a story by Felicity Evans and Toby Venables, engages more with the legacies of tribalism, survivors’ guilt, and the psychological scars wrought by genocidal atrocities.

Exactly what happened is revealed only in a slow drip of detail that runs through the length of the drama. What I discovered was not that this was some sort of troubled film, not even close. Instead I found a spare but moving drama, powered by a remarkable lead performance, that is all about life and death and all things in between. At its heart it is also an inspiring story of dedicated parent and child, how we face the uncertain future, and what we leave behind. If you aren’t shedding well-earned tears by the end of this film you simply are not human.

The ghosts are of all the people, including Nyagak, that died so that Rial and Bol could live. The witch explains that if Rial delivers Bol to him, he will reunite Rial with Nyagak. “His House” wastes little time in bringing about things that go bump (and worse) in the night.

The vision ends, but he is still attacked by the ghosts. They disappear whenever he turns on the lights and he struggles to light up his entire house. The ghosts scream out they can’t breathe, and Nyagak yells that she can’t swim. Once all the lights are on, Bol sees the ghosts crawling inside the walls. He smashes more holes in the walls and screams at them to leave. When Rial wakes up, she finds Bol gone and the ground littered with wallpaper.

Bol refuses to abandon his new home and knocks all of the door and window handles off so that he and Rial can’t leave. He then lights a candle and asks the ghosts to talk with him. He is approached by a ghost/witch calling itself the butcher (Javier Botet). The witch says that it will reunite Nyogak with Rial, so long as Bol sacrifices himself to repay his debts. Bol refuses and realizes that the witch cannot directly harm him.