Shimoni

Saw this at the Rotterdam filmfestival (IFFR) 2023. This movie has much more depth than I could derive from it, due to plot lines that seemingly went dead (or were not clearly shown). Also, connections to local folklore went past me due to lack of knowledge of their culture. I thought as much during the screening, and it was confirmed during the Q&A that there indeed were good intentions that I missed for reasons mentioned before.

Two plot lines I seemed to have missed or misunderstood. (A) Geoffrey is forbidden to pick up his former job as a teacher. The pastor is very adamant about it, so goes on finding jobs for which he is not equipped. One would expect this forced job change when accused of having abused his pupils, but he served in prison for something else, namely murdering a (pregnant) woman. Still, some hints remain, as there was briefly mention of pupils having to drop their shorts. I thought at the time that Geoffrey was one of the victims, not the perpetrator, so I'm confused. (B) There is a lot of rage in Geoffrey, directed at Weru (with the white patch in his hair), so I connected Weru with said misuse. On the other hand, there were not enough connections in the story to support this theory.

All in all, this movie could have been improved with better storytelling, and with enlightening us Europeans about folklore and traditions. For example, the ogre seems meaningful in their culture, but I could only learn that during the Q&A. Better shown was Geoffrey's caged rage, being the main ingredient of the story. Still, I'm not sure what repeated bed wetting has to do with it, another confusing plot element to add to the mix of misunderstood things.

I scored 4 (good) out of 5 for the audience award after the screening, intending as encouragement and assuming that the film makers are planning to show it to a domestic audience who will not miss the points I missed. There is ample depth, and there is atmosphere.

In a local legend an ogre steals a child, puts them in a cage, and turns them into something they are not.

Anger, as much as any cell, can be the ogre's cage.

Geoffrey, just released from prison for murder, returns to the town where he grew up. He is bitter about the place, people, and the menial work, but it may be the only way to get back on his feet. If this isn't enough for him to deal with, Geoffrey is paralyzed with fear when a lone figure with distinguishing features enters the room. It is an ogre from his past. If Geoffrey can control his anger and vengefulness, he can free himself from this prison without walls.

Shimoni, which means "the pit," is a place where no one confronts and deals with the ogres in their midst or the pain they cause. Director Angela Wanjiku Wamai, who answered questions after this Toronto International Film Festival screening, hopes we will think about why monsters are the way they are. Many people ignore trouble and evil, and push away those in need of help or use them if they can. There are better ways of dealing with monsters and pain, and Wamai hopes to bring them to mind.

Shimoni needs better plot development, actors, and budget support, but it is so much more real and tangible of a story than the neutered, bland, and unfulfilling glop that is served on screens these days. Shimoni is unpredictable and rewarding. It includes beautiful shots of the jungle forests, sunsets, and rainfall. There are intriguing lines of questionable wisdom like "people need to be shouted at once in a while, so don't be too kind." Shimoni is one of those rare, palpable, interesting, and authentic stories that reveals itself to us only if we are open to them.