Atlantics
Five Greats from Five Years Ago: Part 3 of 5
In the coastal city of Dakar, Senegal, Atlantics (Atlantique, 2019) unfolds as a love story haunted by the specter of migration and economic hardship. Ada (Mame Bineta Sané), a young woman living in the city, is trapped in a loveless engagement with a wealthy man. Her heart belongs to Souleimane (Ibrahima Traoré), a construction worker laboring on a futuristic tower that casts a long shadow over their impoverished neighborhood. We understand that they’re in love because it is so clear in their interactions, and in Ada’s eyes. When Souleiman and his fellow workers disappear at sea, lost in a desperate attempt to find better opportunities abroad, Ada's world cracks.
Yet, the film is not content with a simple tale of heartbreak. Director Mati Diop weaves a tapestry of magical realism, blending the harsh realities of life in Dakar with the supernatural. A fitting dreamscape synth soundtrack evokes the era of A24 in a way that feels almost cliché, but ultimately satisfying. (Just like A24!) Despite the stunning sound, editing, and cinematography, the film also recognizes Senegal’s historic contributions to film with a cattle herding sequence up front.
Diop's direction is a masterclass in atmospheric storytelling. It’s hard to believe this is her first film. The film is awash in vibrant colors, contrasting the deep blues of the ocean with the warm hues of Dakar's bustling streets. The camera lingers on Ada's face for long stretches, capturing her grief, her longing, and the quiet strength that emerges as she navigates a familiar world becoming increasingly uncanny. A mysterious fever grips the city, and whispers of ghostly apparitions begin to circulate. Standing tall in the background of it all, the stark outline of a skyscraper slowly going up. It clashes with the underdeveloped bordering area of Dakar, where the workers call home when they’re not performing back-breaking labor. The tower is an individual rising above the rest. It doesn’t seem right.
Not a movie driven by plot twists or dramatic revelations, the film’s power lies in its imagery, its haunting soundtrack (featuring a score by Fatima Al Qadiri), and it's firmly gripped understanding of the themes it sets out to communicate: the desperation of economic inequality, the enduring power of love and memory, and the unseen forces that connect us to those we have lost. The film's supporting cast, composed mostly of non-professional actors, adds a layer of authenticity to the story, grounding it in the lived experiences of the community it portrays.
Atlantics found a wider audience thanks to its release on Netflix after taking the Grand Prix (basically second place) at the Cannes Film Festival. While cinephiles lament the loss of the theatrical experience, there's no denying that streaming platforms have played a crucial role in increasing the accessibility and visibility of world cinema. Films like this one, which might not have received widespread distribution in traditional theaters, have an easier time finding their way into the world. This is art-house cinema at its finest, but sadly, art-house cinema is dying outside of cities that can still support it.
The film lingers in the mind, drawing out reflection on the complexities of the human heart and the sacrifices we make in pursuit of a better life. Atlantics draws out consideration for the tragedy of anyone on the planet, whether they’re in coal country USA, XUAR, or Dakar Senegal, having a boot on their neck while they dream of belonging in the future.
Atlantics
Written by Oliver Demangel and Mati Diop; Directed by Mati Diop
2019
106 minutes
Wolof, French
Recommended way to watch (at time of publication): Streaming on Netflix
You’ll like this if you like: Tigers are Not Afraid(2017), Border (2018)