Port-au-Prince, these days: the master and lady of the house now live in the servants' quarters - their two-storey city residence, a jewel of modernity, was so badly destroyed in the 2010 earthquake that it is too dangerous for them to live there. Nevertheless, they rent out a room in the most stable wing to an NGO representative: Alex. In this way, they hope to raise the money for the most necessary repairs. As is apparently customary among colonialists, Alex now brings a young beauty from the country into the house for the nightly entertainment: Andrémise (or Jennifer, which sounds more familiar to foreign ears). Andrémise slowly but surely begins to shatter the self-images of the master class ...
Sounds like Teorema (1968), is also Teorema, but Teorema upside down, if you like: where everything becomes light and redemption in Pasolini, everything sinks into damnation, murder and silence in Raoul Peck's sardonic-Brechtian version. The Haitian grandmaster of Caribbean cinema also pulled off a veritable casting coup for Murder in Pacot (Meurtre à Pacot) (2014): the wife plays Joy Olasunmibo Ogunmakin - probably better known to world music listeners under her stage name Ayọ.
