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  • The horrors that asylum-seekers have to put themselves through when meshed with a haunted house storyline is what we get in Netflix's His House. Bol (Dirisu) and Rial (Mosaku) are refugees fleeing their war-torn country of Sudan; they brave bullets, rough waters, and even lose their daughter as they finally arrive in Britain where they're granted probational asylum. They're temporarily moved into a shabby, crumbling house in the London suburbs, and that's when the past begins to haunt them.

    His House is a pretty strong directorial debut from Remi Weekes, who has also written the screenplay. It may just be a 93-minute film, however, His House manages to dive equal parts deep into the struggles of immigrants as well as survivor guilt. While Bol tries to blend in with the new surroundings (he sings football anthems at bars, changes his attire, and prefers to use tables while eating), Rial holds firmly onto their culture (she wears their daughter's necklace, dresses in vibrant colors, and sits on the floor while eating).

    The scares, the greatest thing about horror films, are well-conceived. Weeks mixes jumpscares with more atmosphere-heavy ones in an effort to keep viewers on edge. Practical and visual effects are put to solid use in these sequences, though some fare better than others. A little inspiration has been drawn from films like The Conjuring and Lights Out, in a good way. Weekes, through some effective crafting that blur the lines between fantasy and reality, elevates His House beyond the conventional haunted house movie.

    Not everything works though. The final act switches horror for a somewhat predictable twist, and while the closing frames make for a powerful set of metaphors, it feels slightly sketchy from a closure standpoint. The performances are good for a film that revolves mostly around two (or three, if you include the beast) characters - Dirisu and Mosaku showcasing credible, lived-in feats.
  • mbhgkmsgg17 November 2020
    His House starts great and it also ends strongly. However, that beginning and that ending feel like they are from two different movies. It's quite unfortunate that it made me feel that way because I do think that there is a lot of things that this movie gets right.

    Let's start with the first half of the movie. What I would consider the horror half. This film began very quickly and left very little time for the viewer to get situated. The first 45 minutes were indeed very scary, and I was drawn to the screen. But what made that first half so great, was that it didn't just rely on the usual horror tropes. His House explored themes of racism and all the other challenges that refugees face. These issues were explored in a way that caused tension even outside of the house that works as the centrepiece of the story. Another aspect that created its own horror was distrust and challenges of marriage. This film managed to create an atmosphere of constant terror and tension, and I, for one, really liked it.

    The second half, however, moves into a completely different direction. What started as a pure horror film, shifts more and more into a drama as the run time moves towards its end. The horror changes from the typical haunted house style more into creature horror. That's also where the movie stopped being scary for me. I have never found creature horror to be particularly scary and this film didn't change that. I do realize that that is a personal problem, and most people will probably find the second half to be nearly as scary as the first one. But it's not just the normal horror stuff that changes. The two aforementioned aspects of immigration and marriage are almost completely forgotten about. And it is quite unfortunate that this is the case. I felt that they added so much to this movie and made it more than just another haunted house film.

    With that being said, I did like the second half nearly as much as I liked the first one. His House end up becoming a rather touching drama by the time it finishes. And if it forgot about the challenges of immigration and marriage, it replaced it with the conundrum of whether to leave ones home country in the first place. Although a new home promises a better life, is that always going to be the reality?

    There is a lot to like about His House. I think that it fantastically approached horror by making it about more than just jump scares and a scary atmosphere. I also liked that it was a haunted house film that didn't take place in an abandoned mansion. And, I also liked the second half with everything it had to offer. The thing that lessened my excitement was the fact that I felt like I ended up watching two different films. Had there been more cohesion between the two halves, I'm certain that I would've liked this film quite a bit more.
  • Hail to director Remi Weekes for a very different approach to horror!

    I fell in love with the main characters from the very beginning, and sympathized with them. The performances by Sope Dirisu and Wunmi Mosaku are incredible, especially Wunmi, who - in my opinion - delivered an Oscar winning performance. She was stunning!

    I found 'His House' so captivating that I was glued to the screen. The director effectively created suspense with background imagery and shadows - without the use of blaring scare music. This made it more realistic, and a hell of a lot scarier. Some scenes were truly creepy! The use of close-up photography and wide and long shots were also highly effective. 'His House' might come across as another haunted house film, but this was very different, with bucket loads of emotion - enhanced by Wunmi's fabulous performance!

    Eventually, the film offered more than I expected. It was a heart wrenching depiction of a couple who lost a child - but not entirely in the sense you'd expect. It was disturbing on so many levels.

    'His House' might not be everyone's cup of tea, but it is brilliant film making. The film received 37 award nominations, winning 8 - including Outstanding Debut by a British Writer Director or Producer, Best Director, Best Actress, Best Production Design, Best Effects, Best Film.

    Would I watch it again? Probably, yes.
  • jboothmillard19 April 2021
    Warning: Spoilers
    Before Awards Season, I never would have heard about this British scary movie, it looked and sounded really interesting, so I was definitely up for it. Basically, in war-torn South Sudan, Bol (Sope Dirisu) and Rial (BAFTA nominated Wunmi Mosaku) are refugees fleeing with their daughter, Nyagak (Malaika Abigaba). They brave stormy waters on an overcrowded motorboat with many fellow refugees on the perilous English Channel from France searching for a better life. Although they survive the treacherous crossing, their daughter and many others are killed. Three months, they have made it to Britain and are finally granted probational asylum. The government assigns them a dilapidated house on the outskirts of London which has peeling walls, dismal furnishings and almost no cleanliness. They are given strict restrictions, or they may face deportation. They experience racism and hatred from their neighbours. They are met by their case worker Mark (Matt Smith) who appears to be friendly and hopeful for them. Bol tries to incorporate himself to their new life, including interacting with others, trying to encourage Rial to use utensils for eating, and even changing how he dresses. Bol wants to prove to the government that he and Rial belong in the UK. Rial, however, clings to their culture, including dressing in colourful clothes and eating on the floor rather than at the table. She also keeps the necklace of their dead daughter. Both Bol and Rial soon experience strange and disturbing phenomena in their new home, seeing visions of Nyagak and a mysterious man, who both lurk in the walls. Rial works out that the evil in their house is an apeth (a ghostly being of South Sudanese Dinka folklore) or "night witch". She tells Bol the story of a poor man in her village who accidentally stole from an apeth by the river. When the thief built his home, the apeth moved in with him and haunted him. Rial believes that an apeth has followed them and if they repay their debt, the apeth will bring Nyagak back to them. But they do not know what the "debt" is that they need to repay. Bol burns everything they brought with them, but the evil spirit continues to torment him, and things deteriorate between the couple. Bol goes to Mark to request new accommodation, claiming that their home is infested with rats, but is unable to convince him. Bol tears apart the house looking for the apeth, and the chances for the couple staying in the UK are threatened when Mark discovers the damage. But Rial tells Bol that this is fine and that she wants to leave. Bol locks Rial in the house before he summons the apeth himself, who calls him a thief and claims that Bol took a life. The apeth offers Bol a deal: his life for Nyagak's, but he outright refuses this offer, resulting in Bol becoming so angered that he momentarily becomes catatonic. When Rial is tormented by the spirit, she manages to escape the house but finds herself inexplicably back in South Sudan in a familiar classroom. She is reunited with old friends, and a flashback reveals them to be victims of a horrendous massacre. Rial survived the massacre by hiding. Bol found her and the couple made their escape as violence gripped the region, but a bus service would only let on people with children. Nyagak was found by Bol in the crowd and abducted, the couple falsely claimed that she was their daughter. The couple boarded the bus and escaped, leaving Nyagak's real mother (Lola May) running behind the bus, as gunfire erupted. Later, many Africans crossed a rough sea, when Nyagak and others fell overboard. Neither Bol nor Rial could reach her in time. Having accepted what they did, Bol decides to repay the debt to the apeth and tells Rial the truth. Bol starts to let the apeth into his skin and Nyagak enters the room and returns to Rial. But Rial does not accept this alternate reality, she saves Bol by slitting the apeth's throat. Later, Mark comes to inspect the house to find it repaired. Bol and Rial tell him they have chosen to stay and make it their new home. They say Rial killed the witch that haunted them, which Mark finds funny. Bol says they decided to live and go on with the ghosts of their past from South Sudan, including Nyagak. Through the doorway, the spirits of other unknown immigrants are seen, and with them in the home, but the couple are then seen alone and stand holding holds in their new home with a peaceful look in their eyes. Also starring Javier Botet as the Witch, Emily Taaffe as Dr. Hayes, Dominic Coleman as Lead Officer, and Cornell John as the voice of the Witch. Dirisu and Mosaku both give great performances as the refugees seeking a better life, the mix of displacement, trauma and social alienation and the evil ghoul terrifying the couple is clever, it has well done traditional scares and hideous visual that get your attention, it is an imaginative take on the haunted house movie, an interesting horror thriller. It won the BAFTA for Outstanding Debut by a British Writer, Director, or Producer for Remi Weekes (writer/director), and it was nominated for Outstanding British Film of the Year. Very good!
  • Well... I was lucky enough to watch this movie at the 2020 Sundance Film Festival (internet). I am a big fan of horror films and this movie definitely delivers. The story is one that blends very well the horrors that many refugees face along with the manifestations of the terrors they bring. Often times the most scariest stories are those that deal with the non supernatural.

    More specifically, the movie is actually logical and doesn't fall for the classic tropes. In many scary movies that deal with a haunted house, I ask myself "Why don't they just move?!?!?!" but in this case they can't because they're placed in these specific, confining circumstances in order to get their asylum granted. I was also a fan of how the film portrays the female character as the strong, cool and collected wife while it's the husband who quickly descends into madness.

    Overall, I encourage everyone to watch this movie when it comes out on Netflix Turkiye.
  • Exploring themes of grief, trauma, immigration, assimilation, remorse & acceptance through a horror lens, His House is a haunting & harrowing depiction of the refugee experience and, in addition to capturing their inward & outward struggle in adjusting to new life in new place, also delivers as a thrilling & effective haunted house chiller.

    Written & directed by Remi Weekes, the film blends character drama & genre thrills into one finely layered narrative and holds nothing back when unleashing the terror that dwells within the walls of their new home. While there are times when the story becomes perplexing, everything adds up & makes sense once the full picture of the characters' backstory is revealed.

    The atmosphere within the rundown residence is palpably tense & often unsettling, and though Weekes relies on jump scares to frighten the viewers, most of them do work out in the film's favour. Wunmi Mosaku & Sope Dirisu play the young refugee couple seeking asylum after escaping their war-torn homeland, and they both chip in with performances that are credible, grounded & convincing.

    Overall, His House is a welcome entry in the world of horror and also marks a solid debut for Remi Weekes' directorial career. The proper care with which he sketches the characters' troubled past, vulnerable present & uncertain future, and brings it in sync with the immigrant issues gives his picture a relevant touch & relatable appeal. One of the better horror entries in Netflix canon, His House is certainly worth a shot.
  • A good physiological horror film with a main theme and a surprising twist to the story.
  • Warning: Spoilers
    The haunted house flick is old and cliched these days - to be fair, it's been so since the 1930s - but HIS HOUSE manages to breathe life into a flagging, overblown genre. The point of view, that of a pair of Sudanese asylum seekers, is spot on and allows for a fresh perspective on otherwise familiar events. This low budget film adopts an understated approach for the most part, painting a grim social milieu and interspersing effective flashbacks in the narrative to tell a story of sadness and despair. What keeps you watching is the quality of the acting from Sope Dirisu and Wunmi Mosaku, who are both excellent in their parts. My only gripe is with the climax, which gets a little too drawn out and over the top for my tastes, but otherwise this is a minor gem.
  • A long time ago, in a city far, far away I worked in a London hostel for young people who found themselves homeless. Over time one of my responsibilities became the oversight of the house next door to the hostel in which were accommodated a smaller number of people who had arrived in the UK seeking asylum. All these years later I can still remember some things about some of the people I worked with there Yugoslavia with whom I often watched and talked about football or the news updates from his homeland. At one point we even accommodated a man who was an IRA informer - not an asylum seeker exactly, but we were to treat him as such when he was placed with us.

    When I spent time listening to and learning about these people what quickly became clear was something I knew at a subconscious level but had never really processed or given active thought to up to this point - that when you move countries, no matter how few tangible, physical possessions you bring with you, there are some less tangible things that you can't leave behind. It may be your own physical body, your culture, your beliefs and expectations, your memories and hopes, or many other things. All these come with you, whether you like it or not. This was reinforced for me when my wife and I emigrated by choice to South Africa; in doing so you realise how much more invisible baggage there must be when one flees as a refugee.

    This is the territory His House covers so well - a small-scale British horror movie about a couple escaping Southern Sudan for the UK, placed for the time being in a nameless house on a nameless housing estate. They come with little in their hands, but much else they haven't been able to shed, and it's those things that haunt them so compellingly over the 90 minutes or so of this film.

    The film stands on two brilliant central performances from the actors playing the couple at the film's heart - at least one of whom is on screen for the whole of the running time. But it's also much more than the performances - it's the clever use of a wide range of ideas and tropes such as the haunted house story, the home invasion movie, gothic fiction, or even at one startling point the Narnia Chronicles. These tropes are both embraced and subverted often to subtly powerful effect; and it's the wordless moments that are often the most powerful - sound design or slow camera pans bring us some of film's most memorable and effective moments.

    On the face of it the film's ending may seem cloying and naive, but the reality is that it gives us a more profound truth than we may been prepared for; that in order to truly make a home for ourselves in a new context we must look squarely in the face of all the unseen things we carry with us, accept them, grieve them as appropriate and place them in their proper setting. Then we move on; not without those things, but with those things giving light and shade to all that we are in the new places in which we find ourselves. As such this is not only a powerful, chilling, and moving film about the refugee experience, but one about experiences we all go through at different life stages.
  • el731 October 2020
    Warning: Spoilers
    His House is a beautifully acted movie about a Sudanese refugee couple who are moved into a rundown house in England. The house turns out to be haunted, and there are a number of questions left up to the viewer to decide by the end. The movie does a neat trick of making it clear exactly why the couple can't just leave this house once the haunting starts. They have strict rules in place to maintain their asylum status, and one of those rules is they don't leave that house before they're told that they can. There's conflict between the husband and wife, as he is eager to assimilate while she wants to hold onto their culture. The ominous mood is set up early, as the house they are given is large enough for two families but they are being given it to themselves and the rehousing agent (Matt Smith) acts shifty about it and won't explain why they have this house to themselves. The house has been used as a trash dumping ground by the neighborhood kids, so it has fallen into an abandoned state and they wind up having to fix up parts of it just to have livable conditions. There are holes in the walls from which come whispering sounds. And from the very first night, there are jump scares and WTF moments, and some pretty good ones too. The wife, Rial, becomes convinced that a ghost from their past has followed them to England. The husband, Bol, doesn't want to hear it at first. They have a big secret between them, a major source of guilt. Whatever is in their house is feeding on it. The thing is, if the ghost followed them there, why do other people who have lived in the neighborhood longer treat their house like it's haunted? The movie hints that there might be something much older occupying that space but never explains it fully. However, the movie does manage to come to a mostly satisfying resolution.
  • Tweetienator21 December 2020
    Quiet dull and boring, more drama than horror - nothing special or interesting, and for sure not a good horror movie: the horror parts are what I call all cliche in. If you are a connoisseur of the art of horror you can easily skip this one.
  • Going in I thought I'd know what this film was about, I mean a film in 2020 about two black refugees going through the immigration system in Britain how can it be anything but what I'm expecting it to be? But I was wrong, and I am so glad I was.

    Another reviewer said that this is "woke" and a commentary on immigration, it isn't, not at all. This is not a film about race or the differences in race or the difficulties of adjusting to living in a new country, it's not trying to say anything about the immigration system it's just telling a story that happens to involve new immigrants to a country, saying this is a commentary on immigration is like saying Jaws is a commentary on water safety or Die Hard 2 is a commentary on airport security.

    This film is a supernatural horror about the desperate things that people will do to survive and the consequences of those actions, and it's one of the most entertaining horrors I've seen for a while with some genuinely unsettling scenes, I can only hope people don't dismiss it because of a few ignorant reviewers who see imaginary agendas whenever there are black characters leading a film.

    8/10
  • henry8-331 October 2020
    A Sudanese couple escape to England and are placed in a house which also seems occupied by a particularly unpleasant spirit which may have followed them on their journey and following the tragic death of their daughter.

    Genuinely quite scary in places, this is a compelling and quite smart horror feature. It may be a tad brazen with its imagery, but it's a solid story which finally and shockingly explains what is going on. A great debut.
  • Edvis-199723 November 2020
    5/10
    5
    Well I found it really boring and acting wasn't professional for me. Not sure why it has 72 Metascore but it wasn't my cup of tea. Wouldn't recommend to watch it if you like horror movies because it had 0 elements of scare. If you like drama/ghosts then maybe it's for you but the movie is bland and nothing special.
  • As my parting shot to the Halloween season, I give you a horror film that mostly eschews the usual tropes to concentrate on two good human beings terrified by their country's turmoil and their own familial loss. Scary it is a bit; searing it is much in its commentary on current societal guilts.

    You've not seen a haunted house tale like this one. The ghoul is less ghoulish than emblematic and the residents haunted by their past more than their Stephen King-like ghostly resident. Brimming with commentary on refugees and loss, Remi Weekes' His House is a thinking person's thrilling scare and cultural relevance.

    Bol (Sope Dirisu) and Rial (Wunmi Mosaku) flee from war-torn South Sudan, losing their daughter in the sea, and are given a home in London by the Brit social system. They aren't allowed to leave their new home, and thus they must endure the torments of a creature that may have followed them to torture them, Babadook-style, about their alien status and responsibility for their daughter's drowning.

    While the ghost makes sounds and actually talks at times, writer/director Weekes centers the story on the protagonists themselves-Bol's guilt and Riel's motherhood. The jump scares are few but the menace all the more harrowing because of the mental torture. Weekes masterfully displays the couple's loneliness through shots of a hollow home and bleak, vacant outdoors. He also quietly shows through flashbacks the grim remembrance of a ravaged country and a lost daughter.

    As refugees, Rial and Bol are appropriate examples of good people caught in compromising situations they seem to have no control over. In that way, Weekes has given the audience a realistic heads-up about the challenges of immigration and the plight of unfortunate parents upended by war and fate.

    This thriller at a hairy time of year does double duty competently scaring and responsibly commenting. His House becomes our house of the mind and the world, now and forever. On Netflix
  • I'll jump straight into it. I thought this film was pretty good on the whole, but at same time it could have been so much better.

    First off, I enjoyed the message the film portrays and it definitely resonated with me hours after watching. The acting was good from all involved and it built suspense really well also.

    What I didn't enjoy was that I thought it was a bit dull at times. Long dream sequences you knew full well were dreams and, because of this I felt slightly disengaged from the film. Sticking with the theme of the dream sequences, some of them I just didn't understand at all. Seemed like it was made to be confusing for the sake of it.

    It's not a bad film whatsoever, but it's something you won't shout about to your mates or whoever. I think a 6/10 suits this well.
  • I was surprised by this movie.

    It has multiple layers and the story is told as a thriller/horror movie.

    In the 17 comments it has right now, a lot has been said about the story.

    I will not go into that. I want to say the acting is great, the music suits the story nicely and it does has some scares and creepy moments.

    I enjoyed it, not your everyday watch I guess, but very well executed, with a tense atmosphere almost throughout.
  • It starts of feeling a lot like a regular horror movie about a haunted house, but soon turns out to be more like a drama about two refugees trying to fit in and to cope with their guilt. Which they do in very different ways (i wont say more about that as it is a huge spoiler). But that being said it is a well crafted movie and i found myself gripped by the story and the characters. I felt the ending was a little bit of a letdown, but i guess i had different expectations because of the title. Still it is a solid 7 in my book.
  • I thought the first half of the film was great. They move into this extremely run down apartment and instantly start hearing and seeing things. It got really creepy there for a minute. The second half of the film really starts to drag, I found myself bored and disengaged. It just got a little too strange for me. I would normally give a film like this 5 stars, but because of the first half I'll give em 6.
  • kosmasp17 November 2020
    Talk about a slow burn of a movie ... some may read horror movie and think this will be just one jump scare after another ... and while there are some of those, this builds up! And in quite the original and weird fashion! The fear of living or being in your own appartment/house cannot be put into words. Well not accurately that is - which is why this is also a visual treat.

    A horror movie that has quite impact - or is able to, if you let it. Visually stunning and creepy as it can be. The pacing probably will be an issue for some, but it isn't for you, do it! Watch it - you should be able to tell, if you like this after the first 15 minutes or so. And you can watch it again and again - because while this is a horror movie on the surface, there is a lot more beneath it ...
  • It's well filmed with some truly stunning images now and then and it is a well acted, well intentioned polished ghost story in a most unusual locale, but, for me, it loses its way, it's appeal and any suspense factor. It is unusual though and many seem to like it.
  • Its not spooky or creepy. Mayb some wannabe critics may term it as a horror film cos of the trauma the couple went thru or mayb cos of the evil men can do (one tribe butchering another tribe) or mayb cos of the Folie à deux. The performances by the two lead actors is top notch, the film ain't boring n moves at a decent pace but it aint a horror film.
  • This was the perfect horror movie. Genuinely terrifying in parts. And also giving a view into a world of human experience that encompasses human-born horror, loss, grief, desperation, striving and hope. I really cared for these characters and what happened to them, their story. I felt they were so real and believable in their struggle with one another, their love for one another, their tragic loss of community and connection, their being thrust into a cold, thin alienating, lonely new life in a strange land. Great actors , great script and engaging story, great camera work and yes, a twist. For me, there is a lot to like here and I will be looking out for more by this film-maker.
  • youngcollind20 October 2022
    I'll add this movie to a list that includes Under the Shadow, Tigers Are Not Afraid and The Maus, a small sub-genre that uses horror themes to shine a light on the kind of real atrocities that go on around the world. With all of the above, the supernatural element somehow serves to lighten the mood, as you know, ghosts aren't real, but all that other stuff totally is.

    His House deals specifically with people seeking asylum from the civil war in South Sudan. It addresses both how bad things got in the country and how messy the refugee process can be. Of course it doesn't shy away from the haunted house stuff, and includes a healthy dose of ghouls. Since this element is a bit more stereotypical, it teeters in quality, with some cool surreal sequences, but also some run of the mill spooks that border on cheesy. The shortcomings are easy to forgive though as it all comes together to serve a greater message and metaphor.

    ********SPOILER SECTION********

    I'm a little torn on that twist. Once they are shown essentially stealing a child, the film poses the question as to whether or not they are in fact "good people". This opened up the possibility for a tragic ending where the spirits triumph in taking their souls as punishment for their sins. But in letting them defeat the creature, it answers it's own question, saying there can be redemption from such an action, and I'm not sure how I feel about that. I mean, they took a kid, from her mom, and let her die. That's pretty bad. I know, the situation was really rough, and they feared for their lives and all, but still, that's pretty bad. Kudos to the filmmakers for dreaming up a situation with enough moral ambiguity that it's at least worth pondering, but I think I might have been more on board if they went farther to condemn the act.
  • I like the idea, the concept is sound (no spoilers, sorry) but it's execution is flat. It feels like a half baked BBC drama more than a Horror on Netflix.

    The cast is fine, downtrodden but likeable in a 'not entirely likeable sort of way' I think it probably wants to be more of a social commentary than an actual horror...

    And it's this which I think is part of the problem, it wants to show the horrors that people are fleeing from and the perils and loss of the journey but that (if done properly) would be enough, better even than what we wind up with here.

    People will review it well and say it's the best movie of the year etc, but it isn't, if it is then they need to watch more movies... It could have been so much better, it's a shame they wasted the opportunity.
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