Two Americans wake up in Dakar, the capital of Senegal, with bombs strapped to their chests. The timers on the vests tell them they have less than nine hours to find out why. Calling them #1 and #2 a mysterious voice gives them instructions via headsets, a series of tasks that when completed will result in their release. It is a race against time as temperatures rise around Dakar, in the air and throughout its people.
Congolese film director and screenwriter Jean Luc Herbulot is back with the action thriller Zero. Together with producer, co-writer and star Hus Miller (who also produced Herbulot’s international breakout hit Saloum) the pair have made a bit of a scathing attack on global powers and their influence in and around the African continent.
Zero starts out as a fast paced thriller, following each character as they go from task to task, trying to avoid capture by the local authorities while engaging with everyone from local celebrities to child militias. Starting out separately their paths will be brought together and they must work together to get to the end. The film does hit cruise control in the final act, as they near their final mission and destination.
These men aren’t angels themselves. #1 has embezzled and #2 has robbed. All their criminal activities do for them in Senegal is make them a bit more capable of surviving Dakar’s less than welcoming populace. While #2 has fled to Dakar after a robbery back home #2 is there for personal reasons, an attempt at adding a little humanity to the story. Ultimately, neither of them are redeeming victims here, both portraying micro versions of a greater thievery that Herbulot wants to talk about here. This is going to develop into Herbulot’s big reveal at the end. It creates a hurdle, a story without sympathetic victims.
A recognizable voice and face make appearances in Zero. It’s the disembodied voice of Willem Dafoe instructing them, watching them via a high tech drone in the sky. At first you’re like, ‘Is that Dafoe? Nah, couldn’t be. Must be someone that sounds like him’, but yeah, it is him. Their grave growl and cadence work very well as the sinister overseer of each task. The third act features an out-of-nowhere supporting role by Gary Durdan of CSI fame. They play a character called Daniel and they have a greater purpose that serves the big plan of whoever, whatever organization Dafoe’s character works for.
So, in the end, what’s Zero all about? Sinister behind-the-scenes actions taken, involving two low level criminals that hardly anyone is going to miss -including the audience - to create political upheaval and social change. There’s even an extra parting shot in the epilogue at another global player who has been watching their influence in the African continent dwindle away of late. While we can appreciate Herbulot’s long game here there is a second risk with it. No one likes the truth, specifically colonizers, at home or abroad.
If not entirely and subjectively satisfying at its roots as an action thriller Zero does create conversation after its conclusion and its candid remarks about international interference in African lives. Does Herbulot care if that offends you? Aw hell no. If they were at all concerned about how they may be perceived by Western audiences they may not have done it.
Watching international genre cinema is like walking into a local shop for local people. Lots of interesting stuff to look at and try but you’ll probably find something that sit well with your constitution. Herbulot’s been given a platform on the international genre film stage thanks to the global success of Saloum. Turns out he's got something to say about his home and international infleunces. Other than the look at local folklore and magical realism that was in Saloum, his style also includes a type of zero-fucks-to-give filmmaking.
As is his right.