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As Bol is being consumed, Nyagak appears and takes Rial’s hand. Bol goes to the mall (where he is shadowed the whole time by mall security) and buys Western-style clothes. When he returns home, he repairs all the wiring in the house (wounding his hand in the process).
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It’s terrifying, shadowy, making scratchy skittery noises. Perhaps they’re the haunt-not-harm variety of spirits, but his encounters get increasingly harsh; Rial simply speaks with them, and their relationship becomes tense. No, it’s definitely a what’s-in-the-tree/only-what-you-take-with-you kind of situation. Summary After making a harrowing escape from war-torn South Sudan, a young refugee couple struggle to adjust to their new life in a small English town that has an unspeakable evil lurking beneath the surface.
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As a result, the man and his house were cursed and eventually destroyed. She then tells Bol that she has seen the ghosts in their home. Rial calls him a liar and says that they must repay their debt to break the curse. The apeth tells Bol, “No matter where you go I will follow. You are mine now.” and says that he must exchange his life for Nyagak.
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Rial then walks out of the bedroom dressed in the Sudanese clothing and necklace that Bol had burned. She tells Mark that the apartment has been destroyed because they are being haunted by ghosts and a witch. Mark says he is going to report the couple to his supervisors (with the implication being they will be sent back to South Sudan). When Mark leaves, Bol and Rial fight with each other over where they belong.
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As for the ghosts, she says they are still with them, and always will be as the ghosts are part of who they are. But the two affirm they will live with the ghosts while making a new life together. The film ends with Bol and Rial peacefully sitting with the ghosts of their past.
Storyline
They experience racism and hatred from their tenement neighbours. They are met by their case worker Mark, who tells them he hopes they are two of "the good ones." Bol and Rial are being haunted by the ghosts of people who died on their journey from South Sudan to Britain.
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The power of the movie, in the end, is in giving that world substance. That, and allowing our own fears to bring it to light. Well, theft is quite a concept in a movie about refugees. And Bol and Rial, as evocatively embodied by Dìrísù and Mosaku, are rightly conflicted.
The film ends with Mark and two of his colleagues visiting Bol and Rial at their home. They have completely embraced their lives in London, which surprises Mark. Although it appears that they have made remarkable progress, it doesn’t mean that they have completely forgotten their past. Nyagak and every other person they have lost in South Sudan and on their way to England will now forever be part of their memories. The month ahead will bring new films from Alex Garland, Luca Guadagnino, Dev Patel, and more.
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When he goes out for air, Bol’s neighbor tells him he should just leave the home as they will be sent back to Africa no matter what. The film jumps ahead to Bol and Rial in a detention center. They are summoned by government bureaucrats who tell them they are in luck.
Still not at peace, Bol tries to throw himself at the mercy of the councilman Mark (Matt Smith) begging him to house them somewhere else and claiming there are rats – when Mark visits, Rial insists on telling him about the witch. As the house deteriorates further and further the film leads us to a first shocking but then redemptive conclusion. Despite its failings, the film is worth watching for the good work from its two leads, and because there are some sorts of horror that don't get talked about nearly as much as they should.
Although, of course, racism and postcolonialism are there in the mix too. But these thematic undertones aside, the movie is also a very effective generator of jump scares and nightmarish imagery, much of it achieved with relatively lo-fi special effects, umbral lighting and intensely committed performances from the leads. Seamlessly meshing classic scary movie tropes with the more profound horror of real-world conflict zones, His House represents a harrowing but bracingly creative feature debut for British writer-director Remi Weekes. Weekes’ conceit works best when shining a light on how the most vulnerable members of a society are those who can’t risk asking for help. Bol is seduced by the promise of a new life, only to spiral into a Babadook-like battle against the trauma that followed him across the world.
Educational, profoundly scary and an experience that delights in taking unexpected routes, this film is one of those debut features that makes you want to keep track of everything a director does from here on out. I very much enjoyed this...it's not exactly a horror film the way it was advertised but it was well paced and executed. It's definitely a conversation starter with it's themes on pain and grief. Featuring genuine scares through every corridor, His House is a terrifying look at the specters of the refugee experience and a stunning feature debut for Remi Weekes. One of the most pressing issues for the incumbent president going into the election is Israel’s war in Gaza, which has lost him vital support among left-leaning Democrats, imperiling his reelection prospects. Over several hours, including a four-hour session Friday night, Biden aides worked with the president to tweak his delivery and tone, according to the outlet.
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