Venice: Saint Simeon, written and directed by Olubunmi Ogunsola, begins with a last supper reminiscent scene. There is food, there are disciples of the church, and just like in the gospel, there’s a secret —this time darker, with no hope of resurrection.
(Click to Follow the What Kept Me Up channel on WhatsApp)
The eighteen-minute short film captures the young seminary student Matthias (Obioha Victor), who is navigating the passing of his roommate Simeon and the controversial circumstances surrounding their relationship and his death.
The film constantly exists in the shadows. The party that begins the film is in honour of Bishop Cartwright (Pablo M), an important figure to the seminary, and seems like a celebratory cover up of Simeon’s death. His mother is invited but never takes centre stage and the dean of the seminary (Kanayo O. Kanayo) only mentions the death once, framing it with a divine dismissal. Mostly playing out in the dark (lit by lanterns and light filtering to cross-shaped stained glass windows), Saint Simeon requires viewers to lean in—both literally and emotionally—to discover its secrets, pacing revelations that draw us deeper rather than pushing us away.
These reveals are carried by inspired performances that capture the haunting of this narrative. Kanayo O. Kanayo (Afamefuna), as the dean, shares a scene with Obioha Victor’s Matthias where he wields the new softness that has come with his later career, but this time with an edge. He narrates a story of his youth meant as advice but also a subtle warning, all delivered in dynamic dialogue. The rest of the cast pull their own weight even in the smallest moments. Emmanuel King plays a small but weighty role with the lightness required for us to insinuate his link to the central story. He connects us with the repression that exists throughout the film, at first forcing Matthias to give up Simeon’s journal and then later sharing a distant, intimate moment with him.
Set in 1997 Enugu and shot in Ibadan, Saint Simeon is Ogunsola’s first film and enters the canon of Nigerian films at international festivals, examining themes some might dismiss as “festival bait.” This, of course, is a surface-level reading of a story many of us have heard happen in these religious institutions. The film is not weighed down by any attempts to proselytize, which is refreshing for a first-time filmmaker, making you wonder if she will continue to explore these subjects in future projects.
Saint Simeon missteps sometimes. The introductory narration about death doesn’t tie neatly into the story and Simeon, the invisible character in this film, is reduced to a single plot dimension. Despite that, it goes into a supposed sanctuary of religious perfection and upsets it in an uncomfortable but effective way. Soundtracked by chorales interspersed with horror orchestration, the film lays bare the way guilt, duty and religion coalesce to complicate a humanity that is expected to be singular.
Saint Simeon had its world premiere at the 82nd Venice International Film Festival in the Orizzonti Short Films Section.
Become a patron: To support our in-depth and critical coverage—become a Patron today!
Join the conversation: Share your thoughts in the comments section or on our social media accounts.
Side Musings
- The way Simeon’s mother (Ego Ihenacho) moves through the story in the background, almost like she is taking her son’s place in key moments.
- Kanayo O Kanayo has been looking so moisturized in all his recent films.
