Edinburgh International Film Festival – Saloum

EIFF 2022 – Saloum,
Directed by Jean Luc Herbulot,
Starring Yann Gael, Evelyne Ily Juhen, Roger Sallah, Mentor Ba, Bruno Henry

The programmer introducing Saloum to a late-night Edinburgh International Film Festival crowd was eager to share their enthusiasm for Saloum, describing it as part of a bold, new, confident strand of film-making coming out of Africa. Shot mostly in the French language, I felt this Senegalese movie lived up to its glowing introduction at the festival. We start off with what looks like a massacre in an African town, bodies everywhere, civilians and military alike, and three mysterious figures walking among the bodies – the Bangui Hyenas – leader Chaka (Yann Gael) , Rafa (Roger Sallah) and Minuit (Mentor Ba). You’re given the strong impression the mayhem and body count has come from these three figures swaggering through the streets, and then we find out they are extracting an international drug smuggler to help him out of the country, for a sizeable amount of gold.

However not all is at is often seems in this very cool, slick, stylish African flick; first impressions are these are just three gunsels – cool perhaps, but criminals, thugs – happy to leave a line of bodies in their wake. Except as the film progresses we hear stories about the Hyenas, and despite the tough guy posturing, we start to learn of very different views of them, that they’ve interfered against despots, helped movements and other rather more heroic actions. It’s a good strategy as it means you can’t just peg the trio as one thing or another, good guy, bad guy, hero, villain, and it makes the mix far more interesting. It also establishes that they have a pretty formidable reputation that precedes them.

Their exit strategy with their drug lord is a light aircraft from a nearby airstrip, taking off as local reinforcements arrive too late to do much more than fire impotently in the air at the retreating plane, as our trio and their client relax. Except, of course, like any good plan or heist in a movie, something has to go wrong (otherwise we wouldn’t have much of a story, would we?!) – in this case they realise they are losing fuel, and assume a stray bullet hit the tank. They can’t make their original destination, but Chaka, the brains of the operation, comes up with a back-up plan, to land in the Saloum area of Senegal. Having hidden the plane and the gold, they set off on foot for a small, isolated resort of sorts that Chaka claims to know, saying to leave all the talking to him, and explaining after a couple of days of playing visitor there, they will scrounge fuel and some sealant to fix the fuel tank, and off they go. The other two are curious as to how Chaka knows this area and people, but follow him.

At the resort things start well enough, greeted by the seemingly affable Omar (Bruno Henry) who runs it, and meeting the deaf and mute guest Awa (Evelyne Ily Juhen) – which leads to an increasingly hilarious sign-language conversation between Awa and Chaka at the camp’s dinner table, as the others all watch on bemused. But quite quickly they realise Awa knows just who they are and wants something from them – is she for them or against? And Chaka hints at past interactions with Omar years ago, but Omar doesn’t recognise him. When a local police captain arrives for dinner, the tension ratchets ever upwards – have they been rumbled, or is it pure coincidence? Adding into this, Minuit and Rafa are starting to question Chaka’s motives, as it starts to look like he has some long unfinished business in this strange region, and they begin to wonder if it was an accident that brought them here or a plan…

This burns along nicely, building character interactions, establishing the surroundings, slowly increasing the sense of tension building, along with the unmistakable feeling that something here just isn’t right. I don’t just mean with the are they here by accident or secret plan, or how does a police captain and a deaf woman happen to be there and know who they are at just the right time. No, there’s more, especially when we see interactions with the nearest village – the people, the place, the whole land here is wrong, something dark, something bad, something not human, perhaps even cursed…

Saloum gleefully throws all sorts of ingredients into the pot – we get action, the daring escape/heist gone wrong, the emergency plan that may be far more than it appears, characters who keep evolving throughout, seemingly and obviously one thing only for us to learn more further in that changes our perceptions of them, it throws in some very slick and stylish action that would be at home in a Tarantino joint or a Hong Kong action flick, with elements of the Spaghetti Western, revenge thriller and outright horror movie too. It’s as prepared to mix knowing humour as it is to take on dark subjects, like the colonial abuses of the past and the use of child soldiers in many civil conflicts. It sounds like it should be overcooked, but it isn’t, somehow all these elements, mixed in at just the right time as the film progresses, all work together, and the narrative even takes a couple of turns I didn’t expect. Cool, stylish, an ideal late night movie treat from Africa.

This review was originally penned for Live For Films

Reviews: Charlie’s Angels

Charlie’s Angels,
Directed by Elizabeth Banks,
Starring Kristen Stewart, Naomi Scott, Ella Balinska, Patrick Stewart, Djimon Hounsou, Elizabeth Banks

Elizabeth Banks writes, directs and stars in this latest take on the all-woman super-team that was such a popular staple of 1970s TV viewing. Originally touted as a reboot several years after the frantically bonkers fun of the McG Angels films with Lucy Liu, Cameron Diaz and Drew Barrymore, instead the decision was taken to make this a continuation of both the films and the original TV series. Not that this is a sequel – it is a new story and new Angels that you could take as stand-alone if you so wished, but it tips its hat with some montages and cameos to the TV series and the films, to include them in this history. This is, effectively, a new entry in those stories, set years on with the latest recruits, but, rather satisfyingly, I thought, including that previous history as a background (even including original 1970s Angel Jaclyn Smith in a cameo as one of the senior staff who train the new girls).

Since the events of the previous films the Townsend Agency has gone international, in an expansion lead by the main Bosley (now a rank in the organisation), John Bosley, played by Patrick Stewart (who looks as if he was having a lot of fun here), with other Bosleys in charge in offices in different cities and countries, and a larger roster of highly-trained Angels on call for missions around the globe (although here this is mostly background, with the story, wisely, sticking mostly to the tried and tested tradition of the triumvirate of three women agents and a Bosley to help). We open with a mission to bring in a creepy international fraudster, the sort of man who happily steals from disaster relief funds, brought down by his misogynistic take on women (Kristen Stewart’s Sabina using this weakness to infiltrate then take him down with help from the other Angels, including Ella Balinska’s impressive Jane Kano, a former MI6 operative). This success crowns John Bosley’s final act at the Townsend Agency as he is preparing to retire.

The main story follows Sabina and Jane in Europe, following up on Elena Houghlin (Naomi Scott), a programmer at a hi-tech firm with a radical (and badly needed) new power device for the world, which she has found has a serious problem – it can be hacked to be used as a deadly weapon rather than purely for good as an environmentally-friendly form of energy. Her attempts to tell the head of the company, Alexander Brock (Sam Claflin) about this and how she can fix it are thwarted by an oily supervisor, Fleming (Nat Faxon), and a cold and relentless assassin, Hodak (Jonathan Tucker), which is, of course, where our heroines step in.

I’m not going to risk any spoilers by going too far into the plot, which, anyway, is, as you’d probably expect from this kind of movie, delighting in twisting around with surprises and double-crosses and red-herrings as to who really is pulling the strings here, and why, and just how this involves the Townsend Agency in ways they never expected. Suffice to say it rolls along at a cracking pace, and while the style is different from the McG films (which had a very stylised look and cut), there is a similar mix of action and humour and some bonding between these very different but equally strong and determined women.

We get high-kicks, car chases, abseiling off tall buildings, clever gadgets (mostly non-lethal, these are the Angels, after all, they prefer not to just shoot people) and globe-trotting locations and stylish outfits. In other words we get pretty much what we want from this sort of film: it’s a great, fun ride of action and humour, with Stewart and Balinska particularly strong as two very different personalities that still manage to be complimentary despite those differences, and there is always that great underlying message that Angels, new and old, are unstoppable when they work together. A perfect Saturday night popcorn movie to enjoy.

Charlie’s Angels is released by Sony Pictures Home Entertainment on digital on from March 23rd, and on Blu-Ray and DVD from April 6th

This review was originally penned for Live For Films