Abdel (Diouc Koma), a young Chadian man, asks his father Adam (Youssouf Djaoro) to take a photo of them together. A Screaming Man, from director Mahamat Saleh Haroun, has a lot of fleeting, small moments like this. In capturing the mundane, it reminds the viewers that these moments won’t last, something that Adam is realizing. Enough people notice the stress he’s experiencing, like his wife Mariam (Hadjé Fatimé N’Goua), who blames herself. But it is actually because of a deal between him and the village Chief (Emile Abossolo M’Bo).

In A Screaming Man, Adam is on the losing end in both versions of the deal because of the Civil War – either he donates to the Army or he allows Abdel to join, so he reluctantly chooses the latter. After the army abducts Adbel, Djemba (Djénéba Koné) shows up, claiming to be his long lost girlfriend. Abdel sends them tapes that he uses as diaries, telling them about life in the front lines. This makes Adam want to go to the war zone, and one wonders what he does next.

Most of the film’s characters get their share of screen time but there are hints of them disappearing – and it’s not just the characters who are at risk here, the same goes for their possessions. A Screaming Man depicts moments like conversations between Adam and the Chief, conversations where directness is key. Adam flat out tells the Chief that he’s too broke to donate to the Army fighting rebels. He does this without seeming weak, as the film gives him and its characters the dignity they deserve.

A Screaming Man depicts a microcosm under threat but while doing so, it shows viewers complex levels. Society wields its invisible hand to depopulate its villages, one at a time. It does this by introducing Djemba into Adam and Mariam’s lives, showing that there’s some healing happening. Adam and Mariam take genuine interest in Djemba especially when they find out that she’s a singer. These characters slowly march towards the inevitable, but at least it depicts broken pieces being glued together.

War is hell, A Screaming Man knows this, showing viewers their conflicts through a uniquely African lens. In a way, its perspective is similar to some cinematic ethos and perspectives within the Global South. At least in what I’m seeing, the front lines and its glory pales in comparison to home fronts. The film captures the inside of cars, windows, pans and tilts depicting the characters’ bodies and emotions. Even in a chaotic street scene, the camera chooses to show Adam’s face bravely taking everything in.

A Screaming Man is available to stream on MUBI, which-