When the Belgian-Congolese rapper turned filmmaker premiered his film in Cannes, earlier this year, Baloji singlehandedly changed the history of his adoptive country for the better — a lesson for all in what it takes to begin to amend the wrongs of colonialism.
As we watch in horror what the longterm effects of colonialism can create, in the Palestinian territories, another country is coming to terms with its past and making an effort at rectifying its wrongs.
Belgium just entered rapper turned filmmaker Baloji’s Cannes breakout hit Omen into the Oscars race, as the country’s submission to the Best International Feature Film category.
Baloji’s own background is fascinating, as the artist was born in the city of Lubumbashi in what was then called Zaïre, which is now known as the Democratic Republic of the Congo. After a kind of problematic childhood and upbringing, he even found himself as an “illegal” — something he mentions in our Selfies Interview, which was captured thanks to the wonderful team at this year’s BFI London Film Festival.
Photo by © Getty Images, courtesy of the BFI London Film Festival
His feature debut film’s submission to the Academy Awards, and probably as a candidate for the Golden Globes (which always tend to look further and wider for possible awardees) is momentous, for someone who not only came as an immigrant to Belgium, but also hails from a country that has only ever submitted one other entry to the awards race.
But going against what destiny has in store for him is in Baloji’s DNA. His name, after several century’s worth of changes due to colonial occupation, has gone from meaning “man of science” to mean “sorcerer” which the filmmaker himself admits is “not an easy name.” In Omen, he makes the central character of Koffie — in what he calls a four person ensemble piece — in his likeness. But instead of a name, carrying that vibration which we discuss in our interview, he gives the character a port-wine stain. A “beauty mark” which I know well, as I have one myself on the bridge of my nose.
Omen deserves to go far, for what it represents but also for its daring style and wonderful non-conformist structure, which manages to say so much in very little time and using a minimalist budget. It is also the work of someone who understands deeply and personally the power of the visual image and that makes Omen a stunning must-watch.
It is interesting to hear which filmmaker Baloji revisits as a personal favorite, since this man’s work can easily be compared to the young Greek maestro he mentions.
But without any more words from me, do watch the interview on YouTube to find out more, and try to catch the film Omen when it plays in a cinema near you. You’ll thank me for it!