Following several weeks in the war-torn life of a 17-year-old Congolese refugee, Rafiki Fariala’s “Congo Boy” is a tender exploration of hope, bravery, and the resilience that lies within children of war.

“Congo Boy” begins as student and aspiring musician Robert (Bradley Fiomona Dembeasset) washes cars for extra money. As he cleans, he sings about the struggles of living in Bangui, the capital city of the Central African Republic. Robert’s song introduces the pattern of the film: He faces a series of brutal defeats and essential victories as he strives to pursue his dreams and care for his family.

Co-written by Fariala, Tommy Baron, and Boris Lojnike, the story is a raw yet gentle depiction of civilian life amid the Central African Republic Civil War. After both his parents are jailed for their status as Congolese refugees, Robert fights to care for his four siblings and struggles to fulfill his promise to his father that he will complete high school. Playing in night clubs, washing cars, and selling the few belongings he has, Robert is the picture of strength beyond odds and a reflection of the lived experiences of children in the Central African Republic.

Warned by his father to hide his Congolese identity, Robert faces a unique disadvantage compared to his peers. Quietly, he endures and internalizes his pain and worry, only fully communicating himself through song. Dembeasset excels as Robert: Pain and determination seep through his expression, revealing Robert’s deep inner conflict, fear, and hope without saying a word. Vocally, Dembeasset’s gentle tone brilliantly juxtaposes the ruthlessness of the world around him, creating a series of captivating musical performances.

“Congo Boy” also benefits from outstanding supporting performances — particularly from Christy Djomanda Louba as Robert’s friend Espérance, Rosiana Kotozia as Robert’s younger sister Aurélie, and Pétruche Mbomba as Robert’s four-year-old brother Daniel. Robert’s community not only uplifts him as the central character of the film, but through Fariala’s direction, each character feels fully realized, navigating life’s difficulties in their own ways.

Even more, through these relationships, Fariala invites levity into the story in tender scenes — like Robert and his siblings spraying each other with a gardening hose or Robert and Aurélie giggling as they try to figure out how to use menstrual pads. Without these moments, “Congo Boy” could easily have become emotionally exhausting.

As with any film centered on a rising star, “Congo Boy” needed music compelling enough to realistically set Robert apart. Fariala achieves this masterfully in the film’s opening moments. Robert’s music — written by Fariala and Lillo Morealle — blends acoustic folk and gospel storytelling with contemporary rap beats. The musical mixing by Ari Cuffini-Fabre creates a unique and captivating sound, paired with vulnerable lyrics that reveal the universal dialogue of civilians living through war. Music becomes Robert’s escape, yet his songs sit comfortably — and at times uncomfortably — in his pain. Music lifts the story and simultaneously anchors it with a rhythm of faith in seemingly hopeless situations.

In the end, the film’s message is beautiful and clear: No dream is too big and no person is too small. In a world in which the war, his status as a refugee, and his family and educational responsibilities stand in the way of Robert’s goals — he rises above, never giving up on himself. A film about resilience, “Congo Boy” delivers a deeply moving, very humanistic lens on war and the effect it has on youth. “Congo Boy” reminds audiences to be proud of who they are and transform hardship into motivation for a brighter future.

—Staff writer Dzifa A. Ackuayi can be reached at [email protected].