2003, three mercenaries extracting a drug lord out of Guinea-Bissau are forced to hide in the mystical region of Saloum, Senegal.
Utilizing intense close-ups and other methods employed by Sergio Leone, this Neo-Western mixed with horror is like if John Carpenter made an African outing while reading Thomas Sankara. And while writer/director Jean Luc Herbulot’s “Saloum” pays homage to the cinematic greats, he also blazes his very own anti-colonial trail. Through conversations and symbolism, the Congolese Herbulot astutely incorporates Pan-African culture and history throughout his clever screenplay.
“Saloum” opens up with one of the best quotes this year: “revenge is like a river.” Then right off the bat, the film drops us into a bloody coup d’état in Guinea-Bissau in 2003; multiple bodies are strewn about. With exciting camerawork and editing, three mercenaries collectively known as Bangui’s Hyenas are introduced stylishly, extracting a Mexican cartel leader. While fleeing in a tiny plane, the mercenaries are shocked to see their fuel tank leaking, and they decide to take refuge in the titular Saloum, a unique region of Senegal. The picturesque area features a crystal blue river that winds up to the North Atlantic Ocean.
Lugging a briefcase full of gold, Bangui’s Hyenas are led by the mysterious yet charismatic Chaka (Yann Gael), with the elder Minuit (Mentor Ba), a mystic sporting remarkable white dreads, and finally Rafa (Roger Sallah), the Gucci shoe-wearing curmudgeon. Upon arriving in the town’s bucolic resort, the trio gets acquainted with their hosts and pays for their lodgings through various chores.
Eventually, Awa (Evelyne Ily Juhen), a mute woman staying at the resort, recognizes the Hyenas and strong-arms them to take her along when they leave. At night Minuit performs ceremonies while nightmares consume Shaka from his childhood in Saloum. But to say anything else about the plot would be a disservice to first-time viewers.
Despite “Saloum’s” minor shortcomings, Herbulot’s fascinating characters, immersive camerawork, and some excellent African songs make for a well-rounded picture. He also impressively navigates the tension, action, and humor with ease. Not only do I plan on revisiting this, but I will be keeping my eye out for more genre-bending African cinema. And this is why American audiences need to watch more international films and start reading subtitles, because as the saying goes – “there is gold in them thar hills.”
Now Playing at the IFC Center in New York
