Dahomey

Highlighting the narrative of historical artifacts returning to the original country, Mati Diop's documentary about artifacts, history, and culture is a slow, meditative, and poetic documentary that does offer an interesting observation of it's main subject.

Diop's approach is interesting as it felt like a real-life poetry being at displayed. Filled with gorgeous sound designs, music, and interesting imagery choices to present, it's definitely a documentary that sheds a good light on it's way. Interconnected with poetic dialogue, it's slow and meditative approach creates an interesting experience.

It isn't a standard documentary as it's more of an experimental art piece of a movie at times. But it's definitely an interesting experience.

Even though this is a short film it seemed to me to contain a lot of filler. It gained some interest about halfway through with in the public forum segments. With such an interesting subject matter, I felt myself wanting to learn more about the artifacts, the process that got them back to Benin, how and why they were stolen. I found myself annoyed with so many lengthy shots of security cameras, hallways, airports, and moving equipment.

Listening to Beninese talk about the significance of gaining these pieces back and all of the relics still in France was the meatiest part of this film and the most engaging for me. Often, I feel that a unsubstantial film could be edited for improvement. In this case, I feel that a lot of substance could have been added.

Saw this at IDFA 2024, the documentary film festival in Amsterdam. It reminded me of a recent visit to Rosenburg Castle in Copenhagen, where lots of ornaments and furniture was displayed, samples out of the collection of former Danish kings. As a not-so-frequent visitor of museums, this was my first confrontation with looted art. (I knew the term in a WW II context, but that is a totally different issue.) And it was by far not my last confrontation, as Denmark was no exception.

I am now perfectly aware that more countries acted similarly in their colonies. In hindsight I should have known better: names like Ivory Coast and Gold Coast are given for a reason to some parts of Africa. Since then, it stayed on my radar, knowing that the inhabitants at the time were not properly paid for those locally made handicraft, nor for mining materials coming out of their soil. Since then, I see contemporary movements to return those artifacts to the original countries, things I was less aware of before.

(Along the same line are parallel movements to offer excuses for past misdeeds around grabbing men and women from African countries, shipping them under harsh circumstances over the ocean, and letting them work under even so harsh conditions without proper pay. It seems a different matter, but it comes forth from a similar abuse of power over former colonies, accompanied by a condescending attitude against other races, and supported by the church, e.g. Pope Nicolaas V writing Dum Diversas in1452.)

It is easy to blindly applaud the return journey of 26 artefacts, going back from Paris to Benin (as the country is called nowadays). This is what we witness in the first half of the documentary. Rather than applauding France's generosity to facilitate this return journey, the 2nd half of this movie shows that it is by far not the last word. Firstly, there is the fact that merely 26 artefacts are just a small fraction of the thousands taken away in past centuries.

Secondly, there is much more to it, like their native languages and cultures that were "stolen" in the past, by actively suppressing all dialects and forcing everyone to speak French, the language of the ruling colonial country France. The current generation in Benin demonstrates this in open discussions on the matters at hand.

All in all, this movie is a welcome contribution to our social perception, at least to mine. It worked for me as an eye opener, broadening the scope of how we utilized our colonies, not only by taking away their natural riches but also by suppressing their local culture.

Based on critiques, I was not sure whether I should dislocate to the next cinema to watch this film. One compelling reason: around 1960, the then called Dahomey was the focus of developmental aid by a Swiss supermarket cooperative, as depicted in that bi-weekly magazine. So by watching, I hoped to revive this past experience. Professional ratings are also quite good, and the short duration of only 1h+ would make a bad surprise bearable. It is anyway a weakness of contemporary film-makers to try to give 'substance' by making films of 2hours or more.

Contrary to some critiques here, the final scene with the discussions by the students was everything else than boring. The question is: what is the truth behind their assertions 'Only some dozens have been brought back, but there were thousands robbed'? I assume, the majour works have been returned.

The documentary, elevated by poetic undertones, narrates the journey of historical artifacts returning from France to Benin. It highlights the debates among the Beninese about the significance of this event, showcasing a broad spectrum of perspectives. Particularly captivating is the technique of narrating from the artifact's point of view, adding depth and complexity to the audience's understanding. From a technical standpoint, the project is exceptionally well-crafted, impressing with its image quality, thoughtful pacing, and mesmerizing sound.

As a viewer from Europe, I felt a slight lack of explanation about what modern Benin is like beyond its capital, which would have helped form an opinion on the discussions presented by the Beninese in the film. However, it's clear that the filmmaker did not set out to provide a comprehensive overview of the country's current state.