Though supportive of Bol’s attempts to get along, Rial’s feelings about her current situation are more complex. The boys prove that old adage that not all skinfolk is kinfolk. She sees this when some Black British teens who scream for her to “go back to Africa” after she asks them for help. We catch a security guard following Bol in that store, a callous reminder of Rial telling her husband that full acceptance will never be possible. His desire to fit in results in him using an advertisement on a clothing store wall as the basis of his new fashion look. Unlike him, they do offer a scenario for their acquiescence.īol repeatedly tells his wife that they are not going back. Their refusal to go back from whence they came is as adamant as Bol’s yearning to stay in England. Instead, these ghosts are symbolic stowaways on the migration. But Weekes relegates it to the background, keeping it in the corners of reality rather than informing the supernatural. “One of the good ones” is uttered multiple times in “His House,” giving the sense that this type of microaggression will be at the forefront of the film’s haunting. More blatant is Mark’s repeated mantra that his newest reports should “be one of the good ones” and assimilate as quickly as possible. Their case worker Mark ( Matt Smith) and his cronies keep stating that this particular house is bigger than their own houses, their voices hinting at a dark sense of entitlement. It’s implied that a house like this, in disrepair and crawling with vermin, is a typical government rental for people like the Majurs. After being detained for a period of time, Bol and Rial are released “on probation” to a house in an unnamed English city (when Rial asks someone if she is in London, the answer is noncommittal). Their daughter drowned during the crossing. The Majurs are refugees from South Sudan who escaped in the tragic boat accident shown in Bol’s nightmare.
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