Do you like movies that thumb their noses at genre rules and eschew tropes? How about narratives that successfully pull the rug out from under you multiple times? If so, have I got an action/thriller/horror flick for you! Saloum is a Senegalese and French coproduction from Congolese writer/director Jean Luc Herbulot. It’s streaming on Shudder now. Saloum is the type of film that is best-experienced cold, but I will do my best to avoid significant spoilers.
We open in the aftermath of a massacre. It’s 2003 in Guinea-Bissau and the African country’s military has initiated a coup d’état. A group of mercenaries known as Bangui’s Hyenas seek to escape the chaos with their prize, a Mexican drug smuggler named Felix (Renaud Farah), and a fortune in gold bars. The mercs are led by Chaka (Yann Gael), a clever and cunning man with a secret that will soon unleash an unforeseen evil. Rafa (Roger Sallah) is the muscle of the group. The older and mystically inclined Minuit (Mentor Ba) effectively keeps the peace between his more volatile partners.
With their plane seemingly sabotaged, the Hyenas are forced to land in a rural area near the Saloum River in the West African country of Senegal. After a short trek through the beautiful but rugged countryside, they reach a rustic resort run by the amiable Omar (Bruno Henry). Knowing that the authorities are likely hunting them, Chaka tells his team to keep a low profile. However, a deaf and nonspeaking woman named Awa (Evelyne Ily Juhen) threatens to blow their cover. Soon, secrets will be exposed with terrifying consequences.
Saloum was written by Herbulot, based on a story by Herbulot and producer Pamela Diop. Characters are well drawn and distinctive with most of the largish cast given moments to shine. With all the craziness unfolding, the script’s structure imposes some order on the proceedings and confidently ushers us through various twists and turns. Herbulot obviously loves cult films, but rather than rehashing references, he infuses his story with a particularly West African aesthetic that truly makes for an engaging watch.
There is style to spare in Saloum. From the detailed costumes to the authentic sets to the eye-popping locations, there is always something interesting to look at on screen. Gregory Corandi’s camerawork is dynamic and assured. We get some painterly shot compositions but not at the expense of clear storytelling. My favorite moment in the film is probably a scene where Chaka is silhouetted against a gorgeous purple Senegalese sunset. Action sequences are competently and pleasingly staged. The digital effects utilized in the back half of the film are maybe a little dodgy, but they work well enough within the context of the film’s overall presentation.
Reksider’s score is outstanding. We get some electronic stuff that’s reminiscent of ‘80s American horror but also some Afrobeat that sounds like unreleased tracks from the legendary Fela Kuti. Saloum truly has a wonderful audio experience. I should probably mention here that the characters mostly speak French, so the film is obviously subtitled.
Jean Luc Herbulot’s Saloum is a fun little genre mash up with a fresh West African perspective. Its 84-minute runtime packs a satisfying cult film punch that opts for a certain sincerity over stale irony. I’ll definitely be keeping an eye out for future work from the filmmaker, as he looks to have a promising future. Recommended for fans of The Serpent and the Rainbow, From Dusk Till Dawn, and The Dead.
Michael Cavender