Saloum unsettles you from the outset. Instantly, we are plunged into a world of violence and confusion, a beautifully barbaric scene of devastation wherein three masked men – the Bangui Hyenas, ostensibly guns for hire – stalk the carnage seeking their quarry: a Columbian drug dealer and his gold who they must extricate to ‘safer’ lands. The pulsing African beats and frenetic camera work set the tone for a film that never allows you to gain a firm footing, the story constantly evolving beyond expectations.
Set during the 2003 coup d’état in Guinea-Bissau Jean Luc Herbulot’s gritty film defies standard classification, expertly blending elements from the gangster and supernatural genres while maintaining an unsettling undercurrent that nods toward something horrific beneath the surface. The Hyenas themselves reflect a world in flux, products of the time and moralistic to a point – they choose not to kill civilians though won’t put themselves out to protect them – yet they reflect an older world, possessing a spirituality that hints toward witchcraft; a theme that becomes increasingly prominent as their nominal leader Chaka (a superb performance from Yann Gael) hides a secret which has tormented him for years.
In many respects, Saloum rewards careful, almost studious observation. Subtleties in the narrative are easily missed with much left to interpretation, the prevalence of sign language being an interesting and relevant aspect. Billed as a ‘southern’ in the opening credits Herbulot’s film adheres to certain Western tropes yet is its own thing; a potent, stylishly thrilling concoction that expertly combines its many parts into something truly impressive. To really appreciate go in with as little knowledge as possible.
Saloum is streaming on Shudder now.
