Thomas Ngijol, the French comedian and actor known for his work with Jamel Comedy Club, is experiencing a significant artistic shift. He’s moving beyond pure comedy and embracing more complex, character-driven roles, culminating in his critically acclaimed film, Untamable. The film, a police drama set in Cameroon, has garnered attention for its exploration of Cameroonian history and its nuanced portrayal of duty, tradition, and survival.
From Jamel Comedy Club to Authorial Cinema: A Metamorphosis
Ngijol initially pursued a dual path, training as a teacher while simultaneously developing his comedic talents. He ultimately found his footing on Canal+, alongside contemporaries like Fabrice Eboué, contributing to a wave of comedians who, as he puts it, “were a bit on the front lines, opening the way.” However, recent years have prompted a desire for change. After his one-man show, L’oeil du tigre (The Tiger’s Eye), Ngijol felt a “visceral need” to explore different registers. He deliberately turned down comedic roles to focus on projects with personal resonance, asserting his freedom to choose. “The luck we have in this profession is the choice to choose, and so it was like that,” he explained.
Untamable: A Cameroonian Noir Between Pride and Reconciliation
Untamable, selected for the Directors’ Fortnight at the Cannes Film Festival in and awarded the Claude Chabrol Prize, is deeply rooted in Ngijol’s family history and a largely unspoken chapter of Cameroonian history: the country’s war of independence in the late 1950s. The film centers on Commissioner Billong, played by Ngijol, as he investigates a police officer’s murder in Cameroon’s capital. Ngijol revealed that his father remained silent about this period for many years, explaining, “My father confessed to me not long ago that he didn’t want to talk about it to us, to give us hope.” He views his father’s silence as a noble act of protecting his children from a painful past.
The screenings of Untamable in Yaoundé and Douala were particularly meaningful for Ngijol, representing “an incredible achievement” to be embraced by the Cameroonian public. Equally important was his father’s pride. “You’re always your parents’ child, so when your father is proud of you, you’re always very proud,” he said.
From Allah n’est pas obligé to Police Flash 80: The Art of Juggling
Ngijol’s versatility extends beyond Untamable. He lends his voice to Yakuba, a somewhat ambiguous marabout (Islamic cleric), in the animated film Allah n’est pas obligé (God is Not Obliged), adapted from Amadou Kourouma’s novel about child soldiers in West Africa. He describes the character as one that allows him to explore ambiguity, questioning whether Yakuba is sincere or not. He defends this ability to navigate different genres, stating, “From time to time, it’s good to pass on messages or information humbly through our art.”
On the comedic front, Ngijol is involved in Police Flash 80, a film co-written with Giulio Callegari and directed by Jean-Baptiste Saurel. Starring François Damiens, Audrey Lamy, and Xavier Lacaille, the film is a tribute to a time he associates with fraternity and community in the neighborhoods.
Thomas Ngijol’s career trajectory demonstrates a deliberate and thoughtful evolution. He’s not simply a comedian who stumbled into filmmaking; he’s an artist actively seeking to tell stories that resonate with his personal history and cultural identity. Untamable marks a turning point, solidifying his position as a significant voice in contemporary Cameroonian and French cinema. His willingness to embrace challenging roles and explore complex themes suggests a promising future for this multifaceted performer.
Ngijol’s upcoming projects include Police Flash 80, slated for release in , and Dao, also scheduled for . He continues to balance diverse roles, showcasing his range as an actor, writer, and director.
