Atlantique

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.

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.

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.

Maybe a little slow for some however worked well and rewarded my patience. Far from being confused as to what genre it is, it seemed pretty clear to me it's a love / ghost story set in contemporary Dakar, Senegal. There's something of a social commentary / realist element and for me it was interesting opening a window on to the lives of young Senegalese women, as well as the customs of an Islamic marriage in West Africa. There's a nice shot of the girls walking along the beach, dressed up to go to the bar, very much like their contemporaries would in any other major city - they wouldn't look out of place in Manchester say and that connecting felt nice, emphasising how much more we have in common than the differences.

There's repeating shots of a misty sea - the sea in Freudian terms symbolises the mother. The central character, a young woman getting married with the expectations of eventual motherhood. If the sea here is the mother it's also the cause of death - her true love, not the man she'll be marrying, has apparently become one of the many drowned in the mediterranean, making the perilous crossing from Africa to Europe in the hope of a better life. In death is life and so on. This is a movie working more on symbolism and allusion rather than straightforward narrative arc. The sterility of a marriage built upon status and material possessions is contrasted with the vitality of a relationship built upon truth and love - the emptiness of the marriage bed, the sterility of the white room, the bland surroundings of the upscale bar where Omar drinks fruit juice from a straw, child like, perhaps a comment about the infantilising of the supposedly sophisticated.

The director produces something properly cinematic with superb composition, backed up with a marvellous synthesizer score, some very nice moody shots of the city at night. This film works best on mood and atmosphere, attempts at shoe horning it into the conventions of narrative are liable to be frustrated. You need to open yourself up and try to empathise with the character, the lead actress is fantastic in the emotions she conveys through expression and body language. It's a film using the language of cinema as I say, symbolism, allusion. You need to 'feel' this film I think, it will frustrate intellectual analysis and to do so misses the point. It's there to be experienced. It won't be for everyone. Still, I'm delighted to see the torch of the art movie now carried forward by a female Senegalese director and her team who can rightfully take their place in a distinguished canon of Senegalese and indeed African film artists.

This film takes a sad story, makes it personal, then takes it to a whole other place. This film is for the women who are left behind, beautifully filmed and acted, one of the most original films of the year.