Dahomey

A vital reflection on colonialism and the loss of identity of nations plundered throughout history, and the plundering nature of countries that rose from the suffering of others.

Dahomey raises important questions about cultural assimilation and the wounds of colonialism that remain open in many cultures exploited by European powers that shield themselves from responsibility in a society that does not care much about the impact of the exploitation of first world countries on the rest of the world.

Despite the short duration, the dense theme makes the experience a little longer than it seems, but this discomfort is necessary.

The film captures very well how artifacts from our culture tell our story.

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.

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.

With over 7,000 pieces taken by the colonising French from their homes in the ancient African kingdom of Dahomey (now Benin), there is much celebration amongst the population at the return of 26 artefacts. These range from statues of their legendary Kings Ghezo and Béhanzin to objects of religious significance and items of such an intricate design that their condition will require perpetual care in a new, purpose-built, home near the Presidential Palace. Sadly, we just don't spend enough time with these beautifully crafted sculptures, nor do we really learn very much about the history of them, their historical provenance nor really anything much about the colonial "treaties" that facilitated their move in the first place. It lacks a narration. Not often that bothers me, but at times this whole thing reminded me of one of those films you'd watch for ten minutes if you were visiting a museum before you moved on. It's presented as if it were the introductory edition of a multi-part documentary that was going to explore more and fill in many of the gaps left unexplained in this hour long preview. Too much of it is spent following a group of young people in a forum arguing about the relative merits (or demerits) of this gesture from the French, and though it can be interesting at times to listen to the differing views in this "what's past is prologue" type debate, it wasn't what I wanted to see. I wanted much more about the fascinating mythology that attributed animal features to human beings in the way the Egyptians did two thousand years earlier. What was their significance? How were they to be conserved, preserved, exhibited - and, quite importantly, to whom. None of that was really gone into and I found that all a little disappointing. It may stimulate further reading but as it stands, it's not great.