Considering the state of Hollywood when it comes to original films in 2026, it’s a real pleasure to watch an ambitious independent film from an experienced filmmaker who is clearly choosing to take bold swings without any care in regard to what it could mean for an algorithm-driven studio system. Steal Away brings together a wide variety of elements that left me continually unsure where it would go next. Drawing on Afrofuturism as a foundation, the movie presents a dual narrative that begins as a coming-of-age story and evolves into a thriller. Magical realism permeates throughout. Some of these ideas register more strongly than others, and it is sometimes a stretch to assess how effectively the film conveys its deeper themes and reference points. However, this is a bold effort with compelling visuals and strong performances from its young stars.
The story takes place in a modern-ish time period in an ambiguous country. Mallori Johnson stars as Cécile, a refugee who has been taken in by a wealthy family, along with her mother. The widowed matriarch, Florence (Lauren Lee Smith), prides herself on the effort she makes to bring in minority refugees and help them, either by allowing them to work on her large estate or, eventually, by putting them on a path to a new life. As we track Cécile’s adjustment to this new life, we also follow Florence’s daughter, Fanny (Angourie Rice), who takes an instant interest in the latest, young arrival. As the film progresses, both have various awakenings rooted in sexuality while also making difficult discoveries about the environment they are living in.
Director Clement Virgo (Brother) only offers clues regarding this setup. Very little is stated outright to fully establish the nature of this estate, its previous residents, and other factors, making the film feel less opaque. Part of that is by design, as the movie does feature a few mysterious elements that are eventually revealed to the audience. Otherwise, much of Steal Away is presented through imagery that deliberately throws the audience off, much as our lead characters do from time to time. They can only react with emotional responses to what they are seeing, regardless of whether or not they fully understand what’s taking place.
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This story is adapted by Tamara Faith Berger (Virgo’s wife) from a non-fiction book, Steal Away Home, by Karoyln Smardz Frost. Without delving too far into what the film ultimately has to say, the notion of building a whole narrative around a non-fiction book is worth considering when one learns of this film’s relation to slave narratives, spirituals, and other important aspects of history. It’s also a lot to draw on, which unfortunately makes the film feel somewhat uneven due to eventual reveals. With that in mind, it’s the strength of the performers and the effort to build a fully realized world that keep Steal Away alive.
Shot in Belgium yet purposefully disregarding any reference to where these characters are, I was fascinated by the look of this film. Presumably working with little budget, the effort to combine costume design, hair, and makeup to introduce characters of some African origin (at one point, Congo is referenced) is already quite striking. Add to that a series of colorful buildings and vehicles that suggest some sort of European nation, and it’s enough to show a disparity between these new people entering an area and the environment they must now become a part of.
The mansion where much of this film takes place also features a variety of rooms, suggesting a rich history. Is this a former plantation? Do all of the rooms have secret doors? Is there something deeper going on, depending on the floor people are staying on? Why is the mute grandma living by herself in an adjacent home? It’s also notable that the mansion is an older shade of white, while the inside is full of colors, depending on the room. Meanwhile, the outdoor area features a large garden that is constantly tended, yet the decay of some of its plants becomes a central motif.
On top of all of this is the tremendous work from Rice and Johnson. As the naive white girl who finds the new residents in her home fascinating, it’s not long before we see various degrees of appropriation taking place. Learning what this is rooted in is key to the film, and it’s a tricky role for Rice to nail down without becoming unreasonable in her desires. Meanwhile, Johnson has to lean into her own innocence as it is tested by finding what she believes is a first love, while contending with those who run the home she lives in. It should be hard to believe that the two eventually form a strong bond, but the journey to get there really helps enliven the characters.
Again, while Steal Away attempts to do too much, I was too impressed by the production’s quality and by what these performers brought to the film to get caught up in whether the narrative fully tracks. By the time the end credits begin, very specific imagery is presented, and I can’t help but wonder just how easily some will be able to connect what’s on display with what has just been witnessed. Even the sort of otherworldly elements sprinkled throughout the film dare to upset the balance, and yet I was still quite fond of just how committed Virgo and his team were to making the film intended. A radical take on the coming-of-age story, for sure, and I’m all for more ways to incorporate afrofuturism across different kinds of features.
The 41st Santa Barbara International Film Festival will be taking place from February 4 to February 14, 2026.
