Atlantics

Nobody told me this was that good. Ok, a lot of people said it was good, but not THAT good.

Some pacing issues on the first act and could have been even more critical of the ones responsible for these situations, but the message is all there. At the same time, a beautiful love story in a very beautiful movie, very well shot (magnificent cinematography) and with great acting from all the actors. I really liked the atmosphere and the very African feeling in terms of traditions and beliefs.

The cinematography is impressive, which confirms in my mind that Claire Mathon was the cinematographer of the year in 2019, with this, "Atlantics," and, better yet, "Portrait of a Lady on Fire." She knows how to compose an image. Unfortunately, there's not much going on otherwise in this critically-overrated picture, but it does benefit from its numerous empty spaces and transitions being filled by lovely imagery. Lots of shots of the sea, along with wind-swept curtains and open windows, mirrors and neon strobe lights. And the eyes of the possessed women are admittedly haunting. The rest of it, however, is a mess, including a narrative that combines a "Ghosts" (1990) like supernatural romance of necrophilia with the problem of arranged marriage, some lackluster drama or social commentary on workers avenging their employer for not being paid and the risks of economically-displaced migration, and, most miserably, a dull detective story investigating a series of arson cases. All of its connected in the slightest and contrived of ways. The plot is best the longer things remain mysterious; once figured out, it's quite disappointing. But, like the central romance, which largely consists of boy telling girl she's beautiful, "Atlantics" is at least nice to look at.

I am too stupid to like this film. It is beautifully shot with wonderful soundscapes however the acting and story line left me out in the cold and bored.

A calm, contemplative, unpredictable, immersive & quietly hypnotising love story perforated with supernatural elements yet firmly rooted in Senegal's social reality, Mati Diop's debut feature is a silent meditation on love, loss, migration, mortality & ghostly interventions that expertly balances the real with the spectral to deliver a cinematic experience that's as ethereal as it is enigmatic.

Winner of the Grand Prix at last year's Cannes Film Festival, Atlantics presents its debutant director employing a methodical approach to realise her deftly layered script on screen and her execution is neat & sophisticated. Also, her serene touch adds a soothing quality to the images, while unhurried pace provides the viewers ample time to acquaint themselves with its world & characters.

However, despite the intriguing premise & interesting social commentary, Atlantics is unable to make us invest in the romance that unfolds at its centre. It's supposed to be the main plot yet feels secondary to other things at play, and the characters aren't as compelling as the world they live in. Nevertheless, for a debut effort, it is a polished piece of subdued storytelling that starts Mati Diop's directorial journey on a promising note.

If, like me, you enjoy the likes of José Saramago, Isabel Allende, and Gabriel García Márquez you are going to instantly LOVE this film. But even if you're not a fan of the genre, it will only take a tiny step of surrender to the mesmerizing sound of the ocean (almost constantly in the background, when not in the foreground of the story) for you to be completely transported.

The core components of the story are universal; primordial even: young love, separation, injustice and punishment.

This is just as much a love story as it is a story about standing one's ground and restoring moral justice. It's just as much deeply personal as it is social. For Ada, the protagonist, a young woman separated from her first love and forced into an arranged marriage, it's a matter of coming-of-age and finding her voice. For the community, it's a matter of being faced with the consequences of social injustice and a rotten system.

Both visually and in terms of storytelling, the balance between realism and the magical/supernatural element is perfect. So is the balance between the macroscopic (the vast ocean, the expansive urban landscape dominated by a giant ominous tower, the community at large) and the microscopic (the small objects that play a central role in the story - a locket, a phone, a pair of handcuffs - and the inner struggles of the protagonists - Ada, Souleiman, the detective).

The result is poetic and haunting and cathartic in the end.