THE STORY – Seventeen-year-old Kellou has been granted supernatural powers she cannot understand. Troubled and hesitant about how to manage such an unsettling gift, she is filled with uncertainty until the day her path crosses that of Aya, a woman in her forties. It is an encounter that will intertwine their individual destinies. Aya already knows that Kellou possesses a power. She also knows that Kellou’s mother died in childbirth: Aya was there to assist with the birth and thus heard the dying woman’s final words. As her own time draws to a close, Aya – who fears the disappearance of the mystical, pantheistic world she and Kellou share, where the visible and the invisible converge – entrusts the younger woman with keeping it alive.
THE CAST – Maïmouna Miawama, Ériq Ebouaney & Achouackh Abakar Souleymane
THE TEAM – Mahamat-Saleh Haroun (Director/Writer) & Laurent Gaudé (Writer)
THE RUNNING TIME – 101 Minutes
Veteran Chadian writer-director Mahamat-Saleh Haroun’s latest, “Soumsoum, the Night of Stars,” is a dragged-out supernatural drama that falters due to stilted performances and a poor script. Haroun’s intent is honourable; you can tell he clearly cares, but he gets lost in the supernatural and forgets that authentic, believable performances are vital to believe in the make-believe. Clocking in at 101 minutes, the film’s end couldn’t come sooner, overstaying its welcome by some thirty minutes or so.
Set in Chad, Kellou (Maïmouna Miawama), a teenage schoolgirl, begins to experience unexplainable visions. As she lies in a serene cave, covered in the most luxurious golden sand, zombie-like souls attack her in a disorientating scene. In her village, things take a turn for the worse after a series of deaths plagues the locals. The village leaders blame it on supernatural forces that have supposedly returned to the once-safe village. This coincides with the mysterious Aya’s return, so they waste no time and begin threatening her to leave, or they will force her out.
Kellou takes an interest in Aya, despite never having met her before, as she seeks answers about her supernatural visions. The two instantly bond over their similar powers; it turns out they both have a special connection to another mystical world. However, Aya is seriously ill and has refused medical assistance in the village. Fearing the world will lose all connection to the supernatural realm, Aya teaches Kellou about her powers and what her nightmarish visions mean. Kellou struggles with her supernatural side while facing criticism from villagers for her strange behavior. Her life will never be the same.
The first problem is that the story is weak and unbelievable. There is nothing tangible for viewers to believe in; everything supernatural feels forced and staged. The zombie-like wandering souls in the first act feel completely out of place, approaching Kellou as if to try to eat her brains. Yet it’s presented as just a nightmare, nothing too serious. But later, it’s revealed that Kellou’s visions are real, and everything witnessed before isn’t just in her mind. Haroun never finds a balance between reality and the paranormal; his approach is nothing if not subtle.
From the start, it’s clear that Haroun is a talented filmmaker with an eye for nature. There are countless jaw-dropping shots of Chad’s rugged, yet beautiful landscape. Golden sands and sun-drenched lighting fill the frame, creating a cinematic, clean look that continues throughout the film. Although it looks very digital, it’s a joy to see such well-composed shots that would undoubtedly aid any film. However, the filmmaking isn’t enough to save the film from its inherent flaws, which make it somewhat laughable and tiresome.
The director never gets a grasp of his actors’ performances; every scene feels acted, and nothing feels authentic. Yes, he’s dealing with the supernatural, but performances this over-the-top and amateur make the miraculous feel completely staged. Maïmouna Miawama does a fine job when playing Kellou as a normal schoolgirl, but when asked to react to the impossible, she misses the mark. Not only is the dialogue lazy and plot-driven, but every interaction feels like a line read, which you have to put down as bad direction. The screenplay does no favours to the actors, but that doesn’t excuse the enormous number of bad reaction shots and the lack of chemistry between the lead actors.
The film is essentially a journey of self-discovery for Kellou, who steps into an otherworldly, mystical realm that blends with reality. As she discovers her powers and forms a strong bond with Aya, she begins to understand her place in the world. She’s a unique figure who can cross between the two worlds. The story is comparable, but nowhere near as poignant or magnificent, to “Pan’s Labyrinth,” both follow a girl trying to escape the harshness of everyday life for something more fantastical. It even ends on a similar note, with Kellou reuniting with her mother in another realm, offering a moment of joy amid the darkness.
“Soumsoum, the Night of the Stars” is a dragged-out film that can be excruciating at times. The acting is poor, everything feels staged, and the supernatural elements feel forced. Mahamat-Saleh Haroun has made good films, so this isn’t a dire situation for him, but more of a misstep in his filmography. It offers an interesting insight into a Chadian village, its customs and beliefs, but nothing more. Everything else is all make-believe.
