DISCO BOY, the first feature film from Italian director Giacomo Abbruzzese, is a captivating blend of reality and fantasy, offering a bold and striking exploration of identity, belonging, and transformation. Franz Rogowski stars as Aleksei, a Belarusian wanderer who enlists in the French Foreign Legion in search of a new beginning and sense of self. His odyssey leads him to Nigeria, where he crosses paths with Jomo and Udoka, two captivating rebel siblings battling against the exploitation of their homeland by international oil corporations. Aleksei is mesmerized by their struggle and allure, undergoing a profound transformation that reshapes his fate.
Initially, the narrative seems to set up three distinct storylines, each rich with potential and vivid imagery. Jumo’s fight against environmental and corporate exploitation and his sister, Udoka’s longing for a new life in Italy paint a picture of struggle and aspiration that resonates on a universal level.
However, as the film progresses, it takes an unexpected turn. The sister and the Nigerian man transcend their initially realistic characters to become almost mythical figures. This transformation adds a layer of surrealism and depth to the narrative, inviting viewers to interpret their roles and significance in more symbolic terms.
Aleksei, the legionnaire, through his encounters with these near-mythical characters, embarks on a path of redemption. His journey, initially grounded in personal ambition, becomes a larger exploration of self-discovery and moral awakening. The interaction between these characters creates a rich tapestry of themes, including the power of dreams, the struggle against larger forces, and the search for redemption.
Abbruzzese’s film is a visually and sonically arresting journey, weaving together diverse genres and influences, reminiscent of Claire Denis’ “Beau Travail” and Gaspar Noé’s “Enter the Void.” It employs an experimental and immersive storytelling style, merging text, visuals, and audio to craft an enthralling and unique narrative.
DISCO BOY also integrates scenes from daily life in Nigeria and excerpts from various films, artworks, and literary works, supporting Abbruzzese’s thematic explorations. The film transcends traditional dramatic formats, instead presenting itself as a playful and reflective essay on the essence and impact of cinema as an artistic and societal medium, presenting itself as a potential fever dream triptych but evolving into a tale of redemption and transformation.