The Man in My Basement’s Nadia Latif: “There will be people who disagree with my interpretations, but that’s okay”

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Watching “The Man in My Basement” will definitely leave you with a lot to think about. The film, now streaming on Disney+ in the UK, marks the first feature film from director Nadia Latif, who previously worked primarily in theatre.

Latif is a highly experienced director who has worked with leading theatre companies like the Royal Shakespeare Company, Almeida, and Donmar Warehouse. She also served as Associate Director at the Young Vic. Beyond theatre, she’s directed short films, including ‘White Girl’ (funded by the BFI) and ‘They Heard Him Shout Allahu Akbar’ (for Film4).

Latif is now adapting Walter Mosley’s complex 2004 novel, The Man in My Basement. She first discovered the book while studying English Literature at university. She points out that the course, like many others – something this writer can personally confirm – tends to focus on works by white, male authors.

I remember stumbling upon Walter Mosley’s novel quite by chance – it was just sitting on a table, and I picked it up. Having been immersed in colonial and post-colonial literature at the time, it immediately felt different. What really grabbed me was the unpredictability; I genuinely had no idea what would happen on the next page. It was a refreshing departure and completely captivated me.

The story tackled huge themes like history and the nature of evil, but it was also focused on a small, quirky American town. It was a really funny story, and didn’t shy away from being a bit crude.

I remember calling the novel a total ‘wild ride’ years ago, and then I heard the amazing news – a film company had picked up the rights and was actually making it into a movie! It was a complete no-brainer for me to get involved. That book just stuck with me, the way it *felt* when I first read it was so vivid. Honestly, my biggest goal with ‘The Man in My Basement’ is to give the audience that same initial feeling – that rush – when they first start watching.

When adapting a book, the goal is to give new viewers the same emotional experience the original reader had. It’s important to remember that the book was initially read as a contemporary work of literature, not as a historical document, even if it’s set in the past.

When adapting a story, I always start by thinking about how to recapture the feeling I had when I first experienced it. With ‘The Man in My Basement,’ that was easy because I was actually that first reader. I clearly remember reading it and the impact it had on me.

Latif describes the film and book as related but distinct—like cousins, not twins. She feels the film is generally darker in tone, though she still considers the book more emotionally heartbreaking. She sees the film as her personal interpretation of the story, shaped by her unique viewpoint ‘as an African woman engaging with an American and global narrative.’ She acknowledges, however, that viewers will naturally bring their own perspectives and interpretations to the story.

The movie centers on Charles (Corey Hawkins), a struggling Black man feeling stuck in life, who decides to rent out his basement to a mysterious white businessman named Anniston Bennet (Willem Dafoe) who unexpectedly shows up at his home.

Like most psychological thrillers, this film has deeper layers than its basic plot suggests. It’s filled with symbolism and hints at themes of ownership, wealth, race, and control over the past. Director Latif chose to set the film in 1994 instead of the book’s 2004, believing that year was a particularly important time for Black culture worldwide.

She explains that shows like *The Fresh Prince of Bel-Air* and *The Cosby Show* popularized a specific image of African American culture. Simultaneously, music and sports promoted a particular idea of Black achievement.

Here in America, certain things were unfolding, and simultaneously, across the Atlantic, the genocide in Rwanda was taking place, claiming a million lives. The contrast between these two situations – and how they relate to the experience of being Black – struck me as particularly significant.

The film features two news stories shown on television. One is coverage of the 1994 OJ Simpson trial, and the other is repeated reports about the Rwandan genocide.

Latif points out this contrast demonstrates the film’s exploration of violence at different levels – from the actions of a single individual to the impact on a massive scale. He also explains that the film deliberately evokes the suspense of a classic thriller, and its setting just as the internet was emerging is key to this. This is why books and the search for meaning play such a central role in the story.

The movie starts by focusing on the relationship between Charles and Anniston, but soon reveals deeper themes. Although set in the 1990s, its discussions about who should own historical objects and the importance of history still feel relevant today, even in 2025.

I’ve been really struck by what Latif said – it feels like we’re *always* turning a blind eye to some conflict happening somewhere, especially when it involves Black African lives. It’s like this pattern just keeps repeating itself throughout modern history, and it’s honestly disheartening. He’s right – we often seem to just not care enough, and it’s a problem that never really goes away.

Latif points out that many people see news about conflicts in Africa and dismiss them as simply “mysterious,” without trying to understand what’s happening. He argues that the situation isn’t actually that complex, emphasizing the tragic loss of life. He believes there’s a tendency in Western media to care less about the lives of people of color, and suggests that if the film were set today, the character Charles would likely ignore these African conflicts just as easily.

She added that the current discussion about returning African artifacts to their home countries is both engaging and complex. She believes there aren’t easy answers regarding the reasons for and the specific circumstances surrounding these returns.

I think these artifacts should be returned to their rightful owners, but it really makes you wonder what impact that will have. Watching Mati Diop’s film, *Dahomey*, about the return of artifacts to Benin, was deeply moving. Seeing people connect with their history was truly beautiful. However, the film raises an important question: does it actually make a difference in people’s lives? Will it improve things?

History always seems to have a strange hold on us – it’s clearly significant, but it’s hard to say exactly why. It feels deeply meaningful, though it doesn’t offer any practical benefits.

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Latif points out that discussions about returning historical artifacts and conversations about reparations, while related, are distinct issues. He describes them as ‘cousins’ – connected but separate – and emphasizes that both are important topics worth exploring.

Is it even possible to calculate the financial cost of so much human pain? And if we tried, how would we determine that amount? These are important questions being discussed right now.

I’ve been thinking about ‘The Man in My Basement,’ and what really struck me is how it explores big ideas about who *owns* things, but also how that plays out in a really personal way. The house Charles lives in isn’t just bricks and mortar; it’s full of family history and memories. That got me thinking about how the house makes him question his own past and where he comes from, too.

Latif describes a deep question about what it truly means to ‘own’ a home, especially considering family history. Charles recognizes the importance of ancestral roots, but Latif points out a key uncertainty: we don’t know the origins of their ancestors when they were brought to Africa. This highlights a fascinating and often overlooked part of African American history – figuring out where your lineage begins, and whether it starts with the experience of slavery.

A key element of the film revolves around Charles’s claim that his family was never enslaved – a belief inherited from his mother. Director Latif aimed to capture this uniquely American tension, describing the story as distinctly rooted in the American experience. Despite acknowledging similar historical denial within Britain, Latif always envisioned ‘The Man in My Basement’ being set in America.

Latif becomes even more enthusiastic when discussing the hidden references and symbols within the film, mentioning *The Lone Ranger*, *Killer of Sheep*, and *Moby Dick* as inspirations.

How you experience this movie will probably depend on your own personal perspective, meaning everyone might walk away with a slightly different understanding of it.

Artist Arthur Jafar once said his work is primarily for Black audiences, but can also resonate with others. I really admire that approach – knowing your target audience and understanding their perspective is key. As a Black creator, I bring my own unique experiences to my work. I don’t try to represent every Black experience, just my own.

Latif acknowledges that not everyone will agree with his perspective, and that’s perfectly fine. He believes that a single, uniform experience isn’t possible – or even desirable – because everyone perceives things differently. He encourages people to accept and celebrate those individual differences.

The film is likely to spark debate, and that’s precisely what the director, Latif, aims for in all her work. She wants to inspire individual reactions, acknowledging that everyone will interpret it differently based on their own experiences. She’s not trying to create something that appeals to everyone, but rather something deeply personal and meaningful for each viewer.

Looking ahead to her future work in film and theater, Latif hopes to consistently surprise audiences. While she doesn’t necessarily aim to make people *uncomfortable*, she wants to create art that doesn’t offer simple or predictable solutions.

I don’t believe most people go to movies or plays just to see stories that perfectly mirror their own lives. I’m often actually let down when I watch something and immediately understand the characters and their circumstances. What I really enjoy is seeing people placed in unexpected situations or facing difficult choices.

My main goal is to help people see themselves in a new light. I believe that even with a diverse audience, creating a sense of surprise can be surprisingly unifying – it puts everyone in the same position of wondering what will happen next, which feels very democratic.

She believes her work aims to challenge people’s existing perspectives, both of themselves and the world they live in.

You can now stream “The Man in My Basement” on Disney+. A Disney+ subscription starts at just £4.99 per month.

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2025-10-17 13:09