Atlantique – first look review | Little White Lies

Festivals

Atlan­tique – first look review

17 May 2019

Words by Hannah Strong

Warm-toned portrait of a woman with braided hair looking intently at the camera.
Warm-toned portrait of a woman with braided hair looking intently at the camera.
Mati Diop’s accom­plished first fea­ture blends social com­men­tary and mag­i­cal real­ism in present-day Dakar.

It seems ridicu­lous that 2019 her­alds the first female woman of colour to be select­ed in the main com­pe­ti­tion at Cannes, but as we all know, progress is embar­rass­ing­ly slow at film fes­ti­vals. Mati Diop, how­ev­er, is a wor­thy con­tender; in her career as a film­mak­er so far she has estab­lished her­self as a con­sis­tent­ly beguil­ing sto­ry­teller. Atlan­tique fol­lows in the wake of her work as both an actor and the writer/​director of sev­er­al short films, and with each work her iden­ti­ty as an artist grows in clarity.

Diop’s 2009 doc­u­men­tary short Atlan­tiques recounts the har­row­ing expe­ri­ences of a group of Sene­galese men try­ing to cross the Atlantic ocean on small boats called pirogues, seek­ing a bet­ter life in Spain. A decade lat­er, her fic­tion fea­ture tells of the women left behind as these men take their chances on the ocean.

Ada (Mame Beni­ta Sane) is in love with con­struc­tion work­er Souleimane (Ibrahi­ma Tra­ore) but already promised to mar­ry an old­er, wealth­i­er man. With few prospects in Dakar, Souleimane and his co-work­ers depart by boat, but are believed to have died short­ly after set­ting off. This event sets in motion a strange series of hap­pen­ings, bring­ing ele­ments of mag­i­cal real­ism into the sto­ry, inter­twined with a very real exam­i­na­tion of how ille­gal migra­tion tears fam­i­lies apart.

The con­cept is cer­tain­ly an intrigu­ing one, and Diop, serv­ing as both direc­tor and writer, has a strong gift for visu­als, which gives Atlan­tique its hazy, dream-like atmos­phere. Yet the film strug­gles to weave togeth­er mul­ti­ple nar­ra­tive threads, and the char­ac­ter­i­sa­tion of even lead­ing roles feels paint­ed only with the broad­est strokes. There’s more of a sense of place than peo­ple; the dusty heat of Dakar, the dark blue hum of a local bar where girls meet to gos­sip and dance with boys.

It’s an accom­plished first fea­ture even with its faults, and Diop should def­i­nite­ly be on everyone’s radar as a film­mak­er to watch.

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