Cult Review
Senior Film Conservator
Honestly, only if you're the kind of person who likes watching 1920s travel footage while eating lunch. If you're looking for a coherent story or actual insight into Haitian culture, you’re going to be disappointed. It’s a very specific vibe that’s half-documentary, half-tourist brochure.
The whole thing kicks off with a stroll through a Caribbean market. It’s all very sunny and bustling, which is nice, but it feels like it’s missing a pulse.
Then we visit Normil Charles in his studio. Watching him work is probably the most genuine part of the film. You see the guy actually sculpting something instead of just posing for the camera, which is rare for stuff this old.
There is this one guy, Tom Terriss, leading the way. He has that classic, slightly patronizing narrator energy that makes you want to roll your eyes. He talks like he’s explaining the world to a child, which gets old fast. 🙄
The big finale is supposed to be this authentic voodoo ceremony. It’s... well, it’s a bit of a mess. It looks more like a stage performance put on for the camera crew than anything truly sacred.
The rhythm is all over the place. You can tell the people dancing aren't really sure what the director wants from them. Sometimes it’s fascinating, other times it’s just awkward.
It reminded me a bit of the frantic energy in Jungle Jam, but with less actual jam and more weirdly staged mysticism.
Is it a masterpiece? No. It’s barely a movie. But it’s got this weird, dusty charm that kept me watching. Just don't go in expecting a deep dive. It’s a look at a place that feels like it’s being held behind a pane of glass.
It’s not quite as chaotic as Moan & Groan, Inc., but it has that same feeling of a project that just kind of drifted along until the film reel ran out. Watch it for the textures and the light, ignore the narration entirely.

Year
1931
IMDb Rating
—

Editorial
Deciphering the legacy of transgressive cult cinema.
Community
Log in to comment.