DIRECTOR: Mati Diop
STARRING: documentary
RUNNING TIME: 1 hr 8 minutes
LANGUAGE: French, English
In November 2021, 26 royal treasures of the Kingdom of Dahomey are about to leave Paris to return to their country of origin, the present day Republic of Benin. Along with thousands of others, these artifacts were plundered by French colonial troops in 1892. But what attitude to adopt to these ancestors' homecoming in a country that had to forge ahead in their absence?
***
French-Senegalese filmmaker Mati Diop's documentary, which earned the Golden Bear prize at the Berlin Film Festival, has been chosen to represent Senegal. This is the second time Diop has been submitted by Senegal. Her previous film, Atlantics was shortlisted by The Academy in 2019. The feature documentary had its world premiere in Berlin and will also screen at the Toronto Film Festival and the New York Film Festival, before hitting theatres on October 25th. It's been acquired by Mubi.
The Senegal Committee announced that Dahomey would be their submission. Diop, who wrote and directed Dahomey, asks what the cultural significance of a restitution of works of art can be when handed back by France to Benin.
The documentary was produced by Les Films du Bal in co-production with Fanta Sy and distributed by Les Films du Losange.
Dahomey is a documentary and it was filmed in Abomey, Benin.
To check out all previous submissions for Senegal, click HERE.
STARRING: documentary
RUNNING TIME: 1 hr 8 minutes
LANGUAGE: French, English
In November 2021, 26 royal treasures of the Kingdom of Dahomey are about to leave Paris to return to their country of origin, the present day Republic of Benin. Along with thousands of others, these artifacts were plundered by French colonial troops in 1892. But what attitude to adopt to these ancestors' homecoming in a country that had to forge ahead in their absence?
***
French-Senegalese filmmaker Mati Diop's documentary, which earned the Golden Bear prize at the Berlin Film Festival, has been chosen to represent Senegal. This is the second time Diop has been submitted by Senegal. Her previous film, Atlantics was shortlisted by The Academy in 2019. The feature documentary had its world premiere in Berlin and will also screen at the Toronto Film Festival and the New York Film Festival, before hitting theatres on October 25th. It's been acquired by Mubi.
The Senegal Committee announced that Dahomey would be their submission. Diop, who wrote and directed Dahomey, asks what the cultural significance of a restitution of works of art can be when handed back by France to Benin.
The documentary was produced by Les Films du Bal in co-production with Fanta Sy and distributed by Les Films du Losange.
Dahomey is a documentary and it was filmed in Abomey, Benin.
To check out all previous submissions for Senegal, click HERE.
FILM REVIEW:
(This review contains spoilers.)
“What was looted more than a century ago is our soul.”
Mati Diop’s Dahomey is a stunningly crafted and deeply evocative documentary that masterfully intertwines history, art, and cultural reclamation. Through its intimate 68-minute runtime, the film explores the return of 26 looted Dahomean treasures from France to their home in Benin, offering a thoughtful reflection on the weight of colonial history and the complexities of restitution. Diop’s keen artistic vision and innovative approach turn this event into something far more profound than a mere transaction, inviting viewers to engage with questions about identity, memory, and the lingering scars of imperialism.
The film’s greatest strength lies in Diop’s unique ability to breathe life into the inanimate. By giving the statues a voice, allowing them to speak of their experiences in captivity, Diop creates a sense of living history that feels urgent and palpable. The anthropomorphized objects, particularly the statue of King Gezo, provide powerful commentary on the injustices they have witnessed, their digitized, ethereal voices offering a haunting and poetic reflection on colonial plunder. This artistic choice underscores the idea that cultural heritage is not just an artifact of the past, but a vital, living force that shapes the present.
Visually, Dahomey is a beautiful, contemplative piece of filmmaking. The camera lingers on the intricate process of packing and transporting the artifacts, capturing the reverence with which they are handled, as well as the quiet drama of their return. The film’s deliberate pacing allows viewers to fully absorb the emotional weight of each moment, from the careful crating of statues in the Musée du Quai Branly to the jubilant celebrations upon their arrival in Benin. These visuals, paired with the sound design, create an immersive atmosphere that amplifies the film’s central themes of loss, displacement, and renewal.
What makes Dahomey especially compelling is the way it navigates the tension between celebration and critique. While the return of the treasures is undeniably a moment of triumph, Diop does not shy away from addressing the complexities and limitations of this act of restitution. The inclusion of modern Beninese voices, particularly the students engaged in debate, adds depth to the film, revealing the frustration that comes with such a symbolic gesture. Diop’s choice to highlight the kingdom of Dahomey’s own complicated history, particularly its involvement in the slave trade, further enriches the narrative, acknowledging the many layers of historical injustice.
Dahomey is a thought-provoking and visually arresting documentary that shines a light on the ongoing conversation about colonial restitution and cultural memory. Mati Diop’s innovative storytelling, blending the mystical with the historical, offers a fresh and engaging perspective on a complex issue. By giving voice to the long-silenced treasures of Dahomey, Diop reminds us of the importance of reclaiming the past and the enduring impact of cultural heritage. This film is a powerful meditation on history, art, and the resilience of a people whose legacy transcends borders and time.
(This review contains spoilers.)
“What was looted more than a century ago is our soul.”
Mati Diop’s Dahomey is a stunningly crafted and deeply evocative documentary that masterfully intertwines history, art, and cultural reclamation. Through its intimate 68-minute runtime, the film explores the return of 26 looted Dahomean treasures from France to their home in Benin, offering a thoughtful reflection on the weight of colonial history and the complexities of restitution. Diop’s keen artistic vision and innovative approach turn this event into something far more profound than a mere transaction, inviting viewers to engage with questions about identity, memory, and the lingering scars of imperialism.
The film’s greatest strength lies in Diop’s unique ability to breathe life into the inanimate. By giving the statues a voice, allowing them to speak of their experiences in captivity, Diop creates a sense of living history that feels urgent and palpable. The anthropomorphized objects, particularly the statue of King Gezo, provide powerful commentary on the injustices they have witnessed, their digitized, ethereal voices offering a haunting and poetic reflection on colonial plunder. This artistic choice underscores the idea that cultural heritage is not just an artifact of the past, but a vital, living force that shapes the present.
Visually, Dahomey is a beautiful, contemplative piece of filmmaking. The camera lingers on the intricate process of packing and transporting the artifacts, capturing the reverence with which they are handled, as well as the quiet drama of their return. The film’s deliberate pacing allows viewers to fully absorb the emotional weight of each moment, from the careful crating of statues in the Musée du Quai Branly to the jubilant celebrations upon their arrival in Benin. These visuals, paired with the sound design, create an immersive atmosphere that amplifies the film’s central themes of loss, displacement, and renewal.
What makes Dahomey especially compelling is the way it navigates the tension between celebration and critique. While the return of the treasures is undeniably a moment of triumph, Diop does not shy away from addressing the complexities and limitations of this act of restitution. The inclusion of modern Beninese voices, particularly the students engaged in debate, adds depth to the film, revealing the frustration that comes with such a symbolic gesture. Diop’s choice to highlight the kingdom of Dahomey’s own complicated history, particularly its involvement in the slave trade, further enriches the narrative, acknowledging the many layers of historical injustice.
Dahomey is a thought-provoking and visually arresting documentary that shines a light on the ongoing conversation about colonial restitution and cultural memory. Mati Diop’s innovative storytelling, blending the mystical with the historical, offers a fresh and engaging perspective on a complex issue. By giving voice to the long-silenced treasures of Dahomey, Diop reminds us of the importance of reclaiming the past and the enduring impact of cultural heritage. This film is a powerful meditation on history, art, and the resilience of a people whose legacy transcends borders and time.
