Balufu Bakupa-Kanyinda's Juju Factory makes an attempt at the exposition of oppression of the Congolese people and a gradual dissolution of their cultural heritage under Belgian colonization. The film treads into the complex questions of identities of a displaced populace through conversations between the actors culminating in the protagonist locating his talisman – "Juju."

Kongo Congo is a Congolese writer living in Matongé district of Brussels. He is offered a book deal to pen an ethnic tourist guide for Matongé by the African publisher Joseph Desiré. In the process of writing the book, Kongo observes his fellow-Africans and weaves them into the narrative along with the subtext of the erstwhile colonization and the current Diaspora. He ultimately clashes with Desiré, whose psyche is typical of the colonized African. Through a series of unrelated moral and ethical conflicts, Kongo's story develops into a tale that encompasses Patrice Lumumba as the proverbial "Big Man" and the tale of the colonization of Congo by King Leopold.

Kongo's girlfriend Beàtrice, a history student, is part of the cycle from which the author draws inspiration and ideas; as he does from his brother Niko and sister-in-law Muadi. Characters on the street and idiosyncrasies of people he meets, all find their way into his tale which digresses from being a simple guide-book. Kongo finds his "Juju" – African for a talisman, when faced with adversity. The multi-lingual writer storyteller with his empty book and oral tales serves as a metaphor for African literary culture, contrasting with Kongo's acceptance of the colonial medium.

The sensuous moments of the film are played out in proxy – through phrases read aloud by Kongo from his book. The latent sexuality of the text and the characters is embodied through Leonie's reading of a particularly erotic passage from Kongo's manuscript. The young African rappers on the cold streets balance the angst of the ageing writer with the new generation.

Dieudonné Kabongo plays Kongo Congo effectively and with aplomb, his rich baritone setting the tone of the narrative for the film. Desiré constantly serves as a foil for Kongo, with his devolved cultural identity – a caricature attuned to Franz Fanon's description in Black Skin, White Masks. Kongo's personal equations with Beàtrice, Niko and Muadi injects the much needed humane touch as does his interaction with Desiré bring comic interludes. All on-screen conversations are suitably contextualized and backed by a minimalist but interesting score. The film has the intimate feel of a small production, stressing on indoor sequences. By refusing to be bogged down by the enormity of such complex socio-political issues as colonization and de-colonization, the director has crafted a surprisingly enjoyable and engaging film.

Manish Golder
©FIPRESCI 2008