His House Review: The Immigrant Experience Rendered as a Horror Movie

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Following Biden’s 10-minute speech, Saturday Night Live Weekend Update co-host Colin Jost roasted the president, politicians and media. “Trump so desperately started reading those bibles he’s selling, then he got to the first commandment, ‘You should have no other God before me.’ That’s when he put it down and said this book’s not for me,” the president said. The black-tie annual event gives Biden a major platform to speak to voters — and flex his sense of humor — while his approval rating sits at a historic low ahead of the November election. Also in the realm, FX’s “Shōgun” has been leading the pack as a frontrunner the past few weeks, though its prospects in the acting categories have remained uncertain given the strong competition from many seasoned nominees and winners. Tadanobu Asano is emerging as a standout contender, while his co-stars Takehiro Hira and Yûki Kedôin are also potential inclusions, enhancing the series’ visibility on the awards circuit. ” Mark ask the pair when he and some colleagues come to inspect the house, which is now beginning to see signs of repair.

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Something lurks, creep-crawling through the interiors, shuffling, gazing out at them.

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But when the truck starts moving and Nyagak sees her mother out of the window, the two start screaming for each other. As her mother runs after the truck she is gunned down. The apeth gives Rial visions of her old life in its effort to turn her against her husband.

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As the film progresses, it is revealed that it has followed them from Africa. Both of them start having visions, and Rial, much to Bol’s horror, start communicating with this being. Trapped in a home that they can’t leave with a supernatural entity, Bol decides to fight back. But the filmmaker also knows that none of this amounts to more than the usual parade of jumps and skin-tingling anticipation without being anchored in some urgent, immediate psychological reality.

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Often, blends like these are clunky and heavy-handed, but it works here. Making matters even worse, Bol is too frightened to reveal his suspicions of the supernatural origin of their problem to the social worker. We see that Rial and Bol survived an attack by one of the warring tribes that left most of their friends and family dead. They, along with other refugees, flee to a bus to be taken out of the warzone.

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A sterling example of the power that diverse voices in front of and behind the camera hold in expanding the [horror] genre's horizons. So when the trouble starts, it hits almost as soon as Bol and Rial move in. An outright spookshow rouses them out of bed, talks to them from behind the walls, plays tricks in the shadows.

It’s a thematically bold genre film that takes an unexpectedly sharp look at the immigrant experience while delving into themes of grief, denial, racism, and survivor’s guilt among other things. His House is a Netflix horror film that goes beyond supernatural scares, exploring themes of grief, guilt, and the struggle to belong. Just when you think it’s run out of ideas, the bottom drops out, by way of a dream, or a hallucination — the difference, in this case, is nil. The screenplay, by Weekes, gets smarter as it rolls along. And the ghouls grow in fearsomeness as they grow in number. Yet for all the movie’s flash-effects and clever conceits, actors Dìrísù and Mosaku are its finest element.

His House should be welcome viewing for those who have grown beyond weary with the phoned-in hackiness of so many horror movies these days. Slipping seamlessly between the Sudanese language Dinka and English, Mosaku and Dirisu are both outstanding here as seemingly stoic victims of history who nevertheless have dark secrets of their own. Indeed, as with Rial’s encounter with the kids in the street, the film trips up viewer expectations by showing that the couple are not saintly martyrs, even if their suffering and hardship are all too real. Ultimately, guilt is shown to be as powerful a generator of pain as victimization. Without spoiling anything, the ending recalls the conclusion of The Babadook (another very smart indie horror film made with old-school scare techniques) with a message about reconciling with your own monsters.

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Rial re-enters the apartment where Bol waits for her. She goes to grab the kitchen knife, but can’t bring herself to kill Bol. He is ready to sacrifice himself to atone for what he did and to bring Nyagak back. As Rial leaves the room, the floor breaks open and the witch crawls out from the ground.

A social worker named Mark (Matt Smith) welcomes them in. The house is dilapidated, but all theirs (Mark says the home is bigger than his). Mark likes the new couple and reiterates that if they behave themselves and prove they are one of the “good ones,” they can make a new life in Britain. Bol is enthusiastic about the new start while Rial remains reserved. Rial makes a necklace out of the beads on one of her Nyagak’s dolls. Bol decides to face the apeth and cuts into his flesh, and the apeth comes.

When he finishes, he finds Rial talking to an unseen presence. Bol angrily sets the table for dinner and tells Rial she must integrate into the British community. She responds that the ghosts have promised that if she complies with their wishes they will reunite her with Nyagak…. At the clinic, Rial receives a clean bill of health. She explains to the nurse that the raised tattoos on her and Bol’s body indicate what tribe they belong to. Because of the warfare, Rial got tattoos of both warring tribes so that neither would attack her.

Rial is made of more defiant and ultimately sterner stuff, drawing on her memories of home — and of the specters that have haunted them along the way — to push back against her husband’s fearful, manipulative hand. The implications of the title might be obvious, though by the end, the movie shrewdly affirms, what was once his house has become indelibly hers. Unique horror-drama; some scares and blood, war violence. That it’s ‘his’ house (as opposed to ‘my house’ for example) immediately casts Bol as ‘other’ – that he’s not even the protagonist in his own story. “Your ghosts follow you, they live with you, it’s when I let them in I could start to face myself,” says Bol.

Bol and Rial are refugees fleeing with their daughter, Nyagak, from war-torn South Sudan. They brave stormy waters on an overcrowded motorboat, along with fellow refugees illegally traversing the perilous English Channel from France in search of a better life. Although they survive the treacherous crossing, their daughter and many others do not. When they are finally granted probational asylum in Britain three months later, the government assigns them a shabby house with peeling walls and dismal furnishings on the outskirts of London. They are given strict restrictions or they may face deportation.