Remi Weekes
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Connections, in both directions
“His House” will inevitably find comparisons to “Get Out” due to its portrayal of racism in a horror setting, but it’s complexities are different, and obviously satire free.
A lot of great horror movies intertwine with relevant social messages, from Invasion of the Body Snatchers to Get Out .
We already witnessed a few of them in movies like Jordan Peele’s Get Out (2017) and Us (2019) and of course, this year’s The Platform.
Its comparison points are repeated and earned, from Jordan Peele’s Get Out to HBO’s Lovecraft Country .
The idea of social horror cinema has long existed—such as Bill Gunn’s Ganja & Hess (1973), or Larry Cohen’s The Stuff (1985)—it’s only recently been given a name, particularly since Jordan Peele’s Get Out was able to bring Black issues to the forefront of a historically white-dominated genre.
It’s not a spoiler to say grief plays a role in this movie, not unlike The Babadook .
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.
The ending of this promising director’s indie horror pic recalls the conclusion of The Babadook.
Other creators have also produced new work, though, including Remi Weekes’ 2020 “His House” and the stunning 2019 documentary survey of Black horror “Horror Noire.”
We already witnessed a few of them in movies like Jordan Peele’s Get Out (2017) and Us (2019) and of course, this year’s The Platform.
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.
Weekes does a lot with a little, his creepy imagery disturbingly assembled by editor Julia Bloch ("Green Room") and accentuated by a suggestive sound design and music by Roque Baños ("Don't Breathe").
Cinematographer Jo Willems ("The Hunger Games: Catching Fire") contrasts the chilly despair of Bol and Rial’s current position with fiery representations of their past.
We already witnessed a few of them in movies like Jordan Peele’s Get Out (2017) and Us (2019) and of course, this year’s The Platform.
Former bank employee Bol (Dirisu, best known for his work onstage and on the AMC series Humans ) and his wife, Rial (Mosaku, of Fantastic Beasts and Where to Find Them ), survive a long trek through the Sudanese desert on crowded buses, ride pickup trucks through a war zone, and then take a terrifying journey on storm-tossed seas in a flimsy boat packed with refugees, seemingly only to lose their daughter, a child of 10 or so, somewhere along the way.