By Michelle Martin
Starring Marc Zinga, Yves-Marina Gnahoua and Marcel Otete Kabeya
Written by Baloji and Thomas van Zuylen
Directed by Baloji
Utopia
The opening moments of OMEN by Baloji set a perfect tone for what’s to come: A woman on horseback wanders through dozens of straw men (eliciting something akin to Jodorowsky) to then arrive at a body of water. She squeezes her breastmilk into it, and slowly, giant clouds form to change the water’s color. A heightened feeling of something mystical being at play permeates the screen – despite being a moment utterly rooted in the tangible. Baloji’s stunning exploration of Congolese cultural beliefs posits that things that we deem “occult” exist on the same plane as that which we view as “scientific,” and the result is captivating.
OMEN follows four distinct perspectives, each person irrevocably intertwined with each other. The first is Koffi, a young Congolese man who resides in Belgium. He is returning to his home to introduce his pregnant white girlfriend to his family, who he knows won’t be accepted. The second segment sees Paco, a teen wrestler who dons a pink dress alongside his fellow “Goonz” members, who are all trying to evade the wrath of a rival gang. The next follows Tshala, the sister of Koffi, who, like her brother, struggles to find her place in the family after realizing crucial parts of her identity don’t fit into her parents’ desires for her. The final chapter belongs to Mujila, the mother of Koffi and Tshala. She grapples with the worldview she has been taught from a young age, clashing with the lessons she’s learned in her life so far. These four are bound by a similar feeling that spirituality is all around them, no matter their level of commitment or belief.
The film boasts wonderful performances from all involved. Yves-Marina Gnahoua in particular offers so much in simple glances as the family matriarch, Mujila – sadness, fear, and overwhelming desire for her loved ones to be safe. OMEN is a visually stunning film that intertwines cultural touchstones in a way that seamlessly changes interpretation depending on whose eyes we are looking out. As much as Koffi resists the overarching themes woven into his family’s beliefs, he often succumbs to forces that seem larger than him, giving the viewer a sense that there is no right answer as to what’s “real” in this universe. Neither the supernatural nor the natural are boldly stated as fact, and the film is all the better existing in a place that is nuanced yet firm.
