Omen, review

Omen

UK release: 28 April 2024

Director: Baloji

Review by Louise Gaidom

Omen (2024) is the first feature film by Belgian-Congolese director, actor and musician Baloji. The film follows a young Congolese man who, after spending years in Belgium, returns to his birthplace of Kinshasa to confront the intricacies of his family and culture.

The film isn’t strictly linear in nature. It introduces the perspective of peripheral characters, including some related to Koffi––his mother Mujila and sister Tshala––and others outside of their family, as well as homeless teenager Paco. This change in perspective can be confusing to watch, especially in the case of Paco, as you’re left wondering how their stories fit with the protagonist’s. Looking at the film overall however, it’s understandable why Baloji decided on this structure; the film is an exploration of Congolese society and culture, so each character has their moment to showcase their experience of life in Congo.

One of the core themes explored within the film is that of Western culture versus African culture which is executed in an impactful and lasting way from the outset. Our introduction to Koffi shows his partner shaving his afro ahead of their upcoming trip to his birthplace. In hindsight, we come to understand his actions were made solely to abide with his family’s beliefs, immediately highlighting the differences in culture. Throughout Koffi’s story, we witness the outlandish abuse and general disregard he suffers at the hands of his family due to their belief that his birthmark means he’s marked by the devil. 

Even Tshala, who presents as more western in her beliefs compared to the rest of her sisters and parents, visits a spiritual doctor on the recommendation of her sisters, after revealing that she has a sexually-transmitted disease. Her succumbing to this, against her better judgement to see a medical doctor, does a great job of showing how deeply these beliefs are held and how difficult it can be to break free of them.

Baloji does an impressive job with this film in showcasing the lengths people will go to for their beliefs at the expense of the people they’re supposed to love. Love is another prominent theme throughout each character's journey and we are able to see the different kinds of love that can be experienced in life––the love of a mother for their child, the love between siblings and the love between husband and wife. 

Through the use of symbolism, particularly the frequent use of the colour pink, which connotes love, nurture, compassion and good health, we are able to visualise the different forms of love. The film’s opening scene features a woman lactating into a lake in the desert which turns a pinkish lilac colour; a representation of the love women give with their bodies. Paco, a homeless teenager in Congo lives with a group of boys who all wear pink dresses which we come to find out is in honour of his deceased sister; a showcase of the all-encompassing love between siblings. Mujila, after the passing of her husband, is left in an empty room with only a pink wreath hanging on the wall. She tells Tshala about the sacrifices she was forced to make in marrying her late husband and the love they found over time. 

Overall, this is an impressive debut feature film and will likely leave a lasting impression because of its striking cinematography, use of symbolism and non-linear structure which ensures paying full attention to everything happening on screen. Though there isn’t a clear connected plot, it is still a thoroughly enjoyable watch.

The story is quite heartbreaking, particularly the treatment of Koffi, learning of Paco’s sister and the sacrifices Mujila endured for the duty of her family, creating a layered, complex story that was gripping and will leave more questions than answers––a polarising watch indeed.

Omen (2024) is an eye-opening experience as it provided insight into some of the experiences of Congolese people, especially the lasting effects of colonialism on industries like coal mining. Through strong religious beliefs and deep historical roots in magic, this film is an impactful starter piece for those unfamiliar in African culture, in understanding how these concepts persist in the modern age and explores its effect on younger generations.