Baloji’s Zombies Explores our relationship to Technology

In his latest self-directed music video, Zombies, Congolese-Belgian musician and visual artist Baloji delivers a striking commentary on the pervasive influence of communication technology in our lives. The film, a two-part visual journey, oscillates between hope and dystopia, weaving together a hallucinatory portrait of Kinshasa while interrogating our almost carnal relationship with our smartphones. Through a blend of vibrant imagery, cultural symbolism, and futuristic aesthetics, Baloji crafts a narrative that is as much a critique of digital ubiquity as it is a celebration of resilience and creativity in the face of technological domination.

A Hallucinated Kinshasa: Between Hope and Dystopia

Set in a surreal, almost dreamlike version of Kinshasa, Zombies takes viewers on a kaleidoscopic journey through the city’s cultural and social landscapes. From the vibrant hair salons, which serve as hubs of community and self-expression, to the neon-lit nightclubs where solitary clubbing becomes a metaphor for digital isolation, Baloji paints a vivid picture of a society grappling with the dualities of modernity. The film’s visual language is rich with contrasts: the pulsating energy of urban parades clashes with the eerie spectacle of a dictator’s campaign (Papa Bollo), while the film’s aesthetic shifts seamlessly from Afrofuturism to a modern Western style reminiscent of Takeshi Kitano’s cinematic flair.

At the heart of this journey is the theme of technology as both a tool of liberation and a source of alienation. The smartphone, depicted as an almost organic extension of the human body, becomes a central symbol in Baloji’s exploration of digital culture. In one particularly striking scene, the hypnotic blue glow of cellphone screens competes with the neon lights of a nightclub, creating a visual metaphor for the way technology infiltrates every aspect of our lives. The playful yet unsettling image of a selfie stick dance routine and a crown forged from phones further underscores the film’s critique of our obsession with digital connectivity.

““My phone as an extension of my right hand was an interesting angle to address some of the themes that fascinate me…We have an almost carnal relationship with our phones.”

The Smartphone as an Extension of the Self

Baloji’s fascination with the smartphone as an extension of the human body is a recurring motif in Zombies. “My phone as an extension of my right hand was an interesting angle to address some of the themes that fascinate me,” he explains. “We have an almost carnal relationship with our phones.” This idea is brought to life through the film’s imagery, which portrays the device as a literal outgrowth of the hand, blurring the line between human and machine. The smartphone, once a tool for communication, has become a prosthetic of sorts, enabling digital ubiquity while simultaneously eroding our sense of physical presence.

This carnal relationship is both empowering and dehumanizing. On one hand, the smartphone grants us unprecedented access to information, connection, and self-expression. On the other, it reduces us to digital zombies, perpetually tethered to our screens and disconnected from the world around us. Baloji captures this tension with a mix of humor and poignancy, using the film’s surreal visuals to highlight the absurdity of our dependence on technology.

A Bold Commentary on Digital Culture

Zombies is more than just a music video; it is a visual manifesto on the zombie-fying effects of communication technology. Baloji’s artistry shines through in every frame, from the meticulously crafted costumes and sets to the film’s bold, unflinching commentary on contemporary digital culture. By situating his critique in the context of Kinshasa, a city that embodies both the challenges and possibilities of modernity, Baloji invites viewers to reflect on the global implications of our technological obsession.

The film’s dual structure mirrors its thematic exploration of duality: hope and despair, connection and isolation, past and future. In the first part, we are immersed in the vibrant, chaotic energy of Kinshasa, where technology is both a lifeline and a burden. In the second part, the narrative shifts to a more introspective tone, as Baloji delves into the psychological and emotional consequences of our digital lives. The result is a film that is as thought-provoking as it is visually stunning.

Conclusion: A Visionary Work of Art

With Zombies, Baloji has created a visionary work of art that challenges us to confront our relationship with technology. Through his unique blend of music, film, and cultural commentary, he offers a powerful reminder of the ways in which technology shapes our identities, our relationships, and our understanding of the world. At a time when the boundaries between the digital and the physical are increasingly blurred, Zombies serves as both a warning and a call to action, urging us to reclaim our humanity in the face of technological domination.

In the end, Baloji’s Zombies is not just a film about technology; it is a film about us—our hopes, our fears, and our endless quest for connection in an increasingly fragmented world. It is a testament to the power of art to illuminate the complexities of our modern existence and to inspire us to imagine new possibilities for the future.

“I was reminded of a photograph by John Stanmeyer of migrants on a shore in Djibouti—raising their phones in the air to try and catch a signal. This picture illuminates our relationship with our phones.