Omen (2023)
Religion is one of the most complex concepts to define human society. Both used as a tool to unite and villainize, individuals finding strength in invisible forces based on religious texts and stories is a concept that can be read as both familiar and taboo with the simple change of a few names and customs. While religion can give comforting power, it can also give warning as evil spirits are a common foe. Praying on the morally weak, many parts of the world carry strong fears and aversion to ideas of witchcraft and sorcery. Baloji Tshiani's unique directorial debut, Omen, looks at the power this fear can have on a community as a man from Belgium named Koffi, played by Marc Zinga, travels to his hometown in the Democratic Republic of Congo with his fiancée Alice (Lucie Debay). Rather than receiving a warm welcome, Koffi is instead met with hostility as he is accused of sorcery.
While one might think they know what beast they are dealing with in Omen based on this plot description, a somewhat standard look at these beliefs through the point of view of an outsider who has grown comfortable with western ideals, Omen proves to be a far more layered expression. Taking the view of multiple characters and perspectives, Omen seeks a more holistic understanding of culture and the beliefs that serve as the foundation it lays on. Jumping between styles, genres, and perspectives, this is a clearly ambitious feature that has some moments of true gravitas.
No segment is better than towards the end when the focus shifts to Koffi’s sister Tshala (Eliane Umuhire). It is in this segment where the film finds its most pointed and direct voice as it looks at the struggles women are faced with once they are labeled as a witch. Tshala finds herself faced with judgment and legitimately terrifying threats that offer a bleak look at a lived reality for far too many. Umuhire offers the film's best performance with an incredible emotional range and power pulling the film to new heights.
Sadly, outside of this segment the voice of Omen becomes far more confused. In its jumping between perspectives, the film has a tendency to lose itself and therefore lose focus on the thesis it is trying to craft. To tell a story this wide on a topic so complicated with such an ambitious style, there needs to be an incredibly precise vision and hand flowing through the film's narrative that will weave together individual strings to create a single worthy tapestry. Omen ultimately fails at fully realizing this creating a feature that, for many, will be difficult to not only fully engage with, but even follow at times.
Perhaps no thread is as disappointing as that of Koffi himself. While the initial set-up is engaging and there are some memorable moments, particularly there is a dinner sequence that stands out alongside a scene where the community attempts to treat Koffi for the supposed spirits using him, the film quickly loses touch with his narrative and scoots him towards the background as it becomes more interested on other happenings. The follow-through resolution for what was initially presented as a leading plot feels disjointed and underwhelming. There is obviously a lot that Tshiani wants to cover and explore, but without a clearer direction it can be hard to feel like any single element is truly highlighted to the best of its ability.
It is at least a relief that throughout, the film does present a rather undeniable talent when it comes to style and visuals. The cinematography from Joachim Philippe is flawless as it dances between various displays of energy and emotion. The visuals feel inspired and exact with this being where Tshiani's direction feels the most clear. It is obvious that Tshiani knows what he wants to showcase and has a vision for each segment and he is able to craft some really beautiful individual pieces, even when they struggle to fit together.
Omen is an ambitious film that is worthwhile in style and perspective. There is tons covered within the film and it is hard imagining watching the film with nothing sticking out as being poignant and powerful. Unfortunately, it is difficult to say that the film fully does come together with Tshiani's inexperience working on feature projects being clear. While a promising start, there is still unrealized potential here that hopefully will be realized as the filmmaker continues to create.
While one might think they know what beast they are dealing with in Omen based on this plot description, a somewhat standard look at these beliefs through the point of view of an outsider who has grown comfortable with western ideals, Omen proves to be a far more layered expression. Taking the view of multiple characters and perspectives, Omen seeks a more holistic understanding of culture and the beliefs that serve as the foundation it lays on. Jumping between styles, genres, and perspectives, this is a clearly ambitious feature that has some moments of true gravitas.
No segment is better than towards the end when the focus shifts to Koffi’s sister Tshala (Eliane Umuhire). It is in this segment where the film finds its most pointed and direct voice as it looks at the struggles women are faced with once they are labeled as a witch. Tshala finds herself faced with judgment and legitimately terrifying threats that offer a bleak look at a lived reality for far too many. Umuhire offers the film's best performance with an incredible emotional range and power pulling the film to new heights.
Sadly, outside of this segment the voice of Omen becomes far more confused. In its jumping between perspectives, the film has a tendency to lose itself and therefore lose focus on the thesis it is trying to craft. To tell a story this wide on a topic so complicated with such an ambitious style, there needs to be an incredibly precise vision and hand flowing through the film's narrative that will weave together individual strings to create a single worthy tapestry. Omen ultimately fails at fully realizing this creating a feature that, for many, will be difficult to not only fully engage with, but even follow at times.
Perhaps no thread is as disappointing as that of Koffi himself. While the initial set-up is engaging and there are some memorable moments, particularly there is a dinner sequence that stands out alongside a scene where the community attempts to treat Koffi for the supposed spirits using him, the film quickly loses touch with his narrative and scoots him towards the background as it becomes more interested on other happenings. The follow-through resolution for what was initially presented as a leading plot feels disjointed and underwhelming. There is obviously a lot that Tshiani wants to cover and explore, but without a clearer direction it can be hard to feel like any single element is truly highlighted to the best of its ability.
It is at least a relief that throughout, the film does present a rather undeniable talent when it comes to style and visuals. The cinematography from Joachim Philippe is flawless as it dances between various displays of energy and emotion. The visuals feel inspired and exact with this being where Tshiani's direction feels the most clear. It is obvious that Tshiani knows what he wants to showcase and has a vision for each segment and he is able to craft some really beautiful individual pieces, even when they struggle to fit together.
Omen is an ambitious film that is worthwhile in style and perspective. There is tons covered within the film and it is hard imagining watching the film with nothing sticking out as being poignant and powerful. Unfortunately, it is difficult to say that the film fully does come together with Tshiani's inexperience working on feature projects being clear. While a promising start, there is still unrealized potential here that hopefully will be realized as the filmmaker continues to create.