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IMPERIAL BLUE (2021)
Imperial Blue poster

CAST
NICHOLAS FAGERBERG
PAUL DEWDNEY
ANDREW BENON KIBUUKA
REHEMA NANFUKA
ESTHER TEBANDEKE

WRITTEN BY
DAVID CECIL
DAN MOSS

CINEMATOGRAPHY BY
EZEQUIEL ROMERO

EDITED BY
ROBBIE GIBBON

PRODUCED BY
DAVID CECIL
SEMULEMA DANIEL KATENDA

DIRECTED BY
DAN MOSS

GENRE
CRIME
FANTASY
THRILLER

RATED
AUS:NA
UK:NA
USA:NA

RUNTIME
90 MIN

 

 

 

 

 

Imperial Blue image

Imperial Blue is a cautionary tale in which drugs, religion, and greed take centre stage in a journey into darkness. It also marks the impressive directorial debut of Dan Moss who brings a unique approach to style and story.

It is hard to think of a more unlikeable character so far this year than that of Hugo Winter (Nicolas Fagerberg). A tall, lanky, frazzle haired drug runner and hustler of little redeeming value, it is to the credit of filmmaker Dan Moss that Hugo nevertheless gains our sympathy during his pursuit of a fool’s gold that can finally bring some sort of security to a life that is filled with chaos.

That “fool’s gold” is called Bulu, a sacred blue herb that when consumed grants the user visions of the future, and is located in the small Ugandan village of Makaana. Hugo makes his way there from the UK with the plan of smuggling Bulu to London where he can finally settle a large date with fearsome crime lord Spiral Matt (Paul Dewdney), who has Hugo’s family in his crosshairs. Hugo instead finds himself ensnared in a battle over land between Kisakye (Esther Tebandeke), the daughter of a recently deceased witch doctor, and Isaac (Andew Benon Kibuuka) a corrupt pastor looking to tighten his expand his empire. Complicating matters further is Kisakye’s scheming sister Angela (Rehema Nafuka.)

Director and co-writer Dan Mass makes quite an impression with his feature debut, creating a film that is as intense as it is a trip-tastic odyssey into how a man’s pursuit for excess and greed takes him to a faraway land, within which he thinks himself king, but proves to be nothing more than an ant overwrought with drug fuelled ego.

Moss deals with big theme subjects like culture, race, and religion, the latter especially prevalent as Hugo’s atheist viewpoint clashes with the Pastor’s protestant style galvanisations from the pulpit. Stuck in the middle is the film most interesting character, Kisakye, a good soul in a corrupt world, who is willing to deal with the “white devil” in order to save her father’s land. Tebandeke is excellent as Kisakye, portraying the characters strong convictions and moral conflictions with convincing authority.

Moss and cinematographer Ezequiel Romero present a film strong in style, with blue drenched dream sequences delivering a fantastical element in a film where the stakes are grounded and deadly. Shot mostly in Uganda, the films backdrop is unique, and adds to the otherworldly design that the film successfully taps into.

There is a lot to like with Imperial Blue. Like Bulu itself, it displays a vision of a strong filmmaking future for Moss and hopefully many of the Ugandan cast and crew who worked on the film. For those looking for something unique and built around a genuinely interesting idea, it is well worth the time.

 

***1/2

 

 

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