Review of Souleymane’s Story: A Politically Charged Fable in the Style of the Dardennes, Packed with Thrilling Urgency

      Note: This review was initially published as part of our 2024 TIFF coverage. Souleymane’s Story will be released in theaters on August 1.

      Souleymane’s Story presents a political allegory infused with the intensity and grit of a thriller. It follows a Guinean food delivery driver, portrayed by Abou Sangare in his impressive debut, as he swiftly navigates the bustling streets of Paris on his bicycle. While making his rounds from customer to customer, he rehearses a script for the asylum meeting scheduled for the following day. His earnings depend on the number of deliveries he makes, but a portion of his earnings goes to the person managing his account. This person is often hard to reach when Souleymane needs funds, especially since he still owes money for the script. Each day feels like a ticking clock, leading up to the departure of the last bus to his refugee shelter; missing it means he has to sleep outside. He also risks losing his only source of income if the delivery app’s anonymous moderators disapprove of him, and any encounter with the police could leave him in peril.

      This gripping narrative is the latest socio-political work from Boris Lojkine, known for directing Hope, which explored a young woman’s journey from Cameroon to Europe, and Camille, a biopic about the French journalist Camille Lepage who was killed while covering the conflict in the Central African Republic in 2014. Souleymane’s Story premiered in the Un Certain Regard section, where both Sangare and Lojkine received due recognition for their contributions. For me, it was the standout revelation of this year’s Cannes Film Festival and ironically embodies the type of work that used to define the festival. Since the Dardenne brothers won the Palme d’Or for Rosetta in 1999, at least four top awards have gone to films of a similar style, yet such filmmaking has become increasingly out of vogue. Souleymane suggests there may still be a place for it.

      In addition to Sangare’s captivating performance, Lojkine’s film excels in areas where others have stumbled. Shot by cinematographer Tristan Galand, who previously worked on several Dardenne films including the similar Two Days, One Night, Souleymane boasts a unique visual style and a commendable level of craftsmanship. A particularly striking image from Cannes this year featured Souleymane speeding down Parisian bike lanes, captured from just behind. Lojkine effectively ratchets up the tension without overwhelming his protagonist, structuring the narrative like a Rube Goldberg Machine: if Souleymane can smoothly carry out his job, complete his deliveries, receive his payments, get some rest, and arrive at his interview on time, everything might go well. However, if any single element goes awry, will it lead to disaster?

      Most notably, Lojkine’s film embodies a refreshing spirit of generosity. It acknowledges the presence of bad-faith actors and opportunists, but it identifies the true adversary as the system itself: its failure to safeguard individuals in the context of immigration and gig economy jobs. Against the odds, the absence of a clear antagonist allows for a sense of warmth to permeate the film, with even scenes that initially seem troubling (like a tense wait for a food order or climbing five flights of stairs) taking on endearing twists. The level of research evident in the film is palpable: the mostly positive atmosphere in the refugee shelter; a moment when alarms sound late at night to signal when beds become available for the next evening; and the heartbreaking scene where Souleymane reaches out to a loved one he left behind. Much like most elements in Lojkine’s film, these moments resonate with authenticity.

      Souleymane’s Story was shown at the Toronto International Film Festival.