Add the impressive Mati Diop, a love story, zombies, capitalism and teenagers to a film’s ingredients and you will not fail to be captivated by the beautiful Atlantics as the product. Winner of the Grand Prix in the 2019 Cannes Film Festival, deservedly so, Atlantics was one of the highly anticipated visual masterpieces from a strong year, which included Parasite and Portrait of a Lady on Fire as winners.
Atlantics’ connection to the latter film, Portrait of a Lady on Fire, should certainly not be ignored. Both films are connected to the French language, they are both directed by female film directors, and they showcase mesmerising cinematography from Claire Mathon. A multi-faceted, poetically haunting tale, Atlantics will leave its audience longing for more of its striking, absorbing aesthetics. It is beautifully captured and as a feature directorial debut from Diop, who starred in the equally beautiful 35 Shots of Rum by Claire Denis, Atlantics envelopes its audience within its hypnotic world.
Atlantics maintains a slow but soulful rhythmic pace throughout, with star crossed lovers and zombies occupying the screen. The exploitation of the disadvantaged is evident as construction workers seek a better life and board a treacherous boat to Spain at night as a means of escape after being denied 3 months’ pay. One of the men aboard is the protagonist Ada’s ‘soulmate’, Souleiman who seems to disappear without a trace alongside the other men.
This is where Atlantics differs from a conventional tale. As it straddles social realism with insight into Senegalese life via arranged marriages, as Ada has been promised to an affluent suitor contrary to her desires. Atlantics also delves into inequality, exploring class dynamics with a tower being symbolic of corporate life and it explores the coming of age theme.
Cannes Related: Portrait of a Lady on Fire (2019)
Noticeably, gender divisions are in effect as the women await the arrival of the men at various club nights and preen themselves to receive their admiration. At times, the men and women are visibly sitting at opposite ends of a room which may be reflective of the traditional religious elements within a Muslim community. Set against a captivating colour gradation, there are neon colour infused scenes as well as low saturated pastel hues, which hypnotise due to Mathon’s vision and assist with the evocation of the otherworldly quality to Atlantics.
Depicting a grim scenario in a developing town, the presence of a police officer investigating a spate of crimes committed, with the burning of a bed in the tower being the first suspicious activity, grounds Atlantics in realism. Given the title of the film it is unsurprising to see several scenes of the Atlantic Ocean shown at sunset, with visuals of an intoxicatingly bright red sun making its descent and at dawn the ocean hues are a pale, but sensual orange.
At times, the sole feature is the soothing sound of the waves crashing. And in Atlantics the ocean seems to be in view for most scenes. Atlantics is equally that love letter to the ocean acknowledging its powerful nature to encapsulate both the sense of loss and life that the ocean conveys.
Cannes Related: Prospectus for Atlantics (2019)
Diop’s intention was not to narrate a tale focusing solely on migration. And as such those elements are interwoven within an exploration of Senegalese culture, customs, political inequality and that coming of age dynamic. The effect is that Atlantics is a very rich, soothing medicine for the soul that will continue to impress. Indeed, the matter of migrants undertaking perilous journeys across the oceans in a bid to reach Europe remains current as a recently reported UK Border Force rescue mission on 21 May 2020 revealed.
Within Atlantics the issue of poverty as a driver is highlighted given the lack of payment received by the men and the incongruous high tower menacingly gleaming in the distance of Dakar as a totem of the apparent wealth inequality.
There is a dreamy sensation permeating Atlantics. Not just in the scenes of people sleeping, of which there are many, nor in relation to the sleeping sickness infiltrating the town. But also in its pacing and the sensuality of the cinematography. Having visited parts of Senegal previously, the busyness, dust strewn streets and heat of its capital have been captured perfectly by Diop.
At times, the simmering heat almost jumps off the frame, in scenes which are deftly intercut with scenes of the lingering, cool respite of the ocean. This temperature assists the tone in Atlantics which sometimes borders on the eerie with the supernatural elements and the gravitational effects of the sun and the moon, on the residents, shown in their full glory reminiscent of many a werewolf film.
Cannes Related: BPM (Beats Per Minute)
Diop deliberately chose music by Fatima Al Qadiri to facilitate the sensation of enchantment within Atlantics, and certainly succeeded as the score sounded extremely frightening and haunting! Billowing curtains and blustery weather conditions further enhance this haunting, ghostly theme within Atlantics.
Interestingly, it is mainly the women succumbing to the illness sweeping through Atlantics, although Ada seems immune for some reason, and effectively become vessels for the ‘dispossessed’ providing them with that voice which was so desperately sought after. These women not only comply with the existing patriarchal structure, but also possess a degree of spirituality.
However, it is clear that this is a judgmental society as one woman whilst unwell recalls being told by the Marabout that she has been possessed ‘by a spirit that got into her belly, due to the way that she dresses’. And indeed Ada is required by her father to prove medically that she has not been tainted and is therefore ‘pure’ for marriage.
Fortunately, powerful scenes of female solidarity exist as a contrast with images of a collective of women singing at a wedding ceremony. Which also evokes eerie sensations, but also a gathering of women at the beach seeking to correct an injustice. Atlantics portrays that concept of strong women and friendship effectively. This sense of friendship is also reminiscent of Celine Sciamma’s film ‘Girlhood‘, Atlantics similarly has a striking scene of friends bathed in blue hues, and equally demonstrates the seismic shift in its protagonist assisted by friendships.
Cannes Related: Wild at Heart (1990)
However, Atlantics does not hesitate to demonstrate the societal perception that the women in the community are either ‘innocent’ or ‘evil’. Diop also explores this sense of duality further within Atlantics, Ada has two groups of friends – one set who are traditional and wear headscarves and another that is more liberal, progressive and own their own businesses, such as Dior. This dichotomy is also representative of Senegal as a country embracing both the new world, with gleaming expensive towers erected, and maintaining the status quo with tradition in a patriarchal world.
It is perhaps due to such Senegalese traditions and superstitions that the concept of supernatural appearances seems to be accepted so readily in Atlantics. Unfortunately, Atlantics suffers the same fate of many a supernatural tale with implausible elements which divorces the film from its realism.
However, this ghostly aspect of the ‘seen’ and ‘unseen’ also connects to the use of mirrors within Atlantics, and people being able to see beyond the physicality. Ada in earlier scenes views herself within a broken mirror and it is through mirrors that the audience can witness the truth of the sleeping sickness, which evokes that horror trope common within vampire folklore. Atlantics, however, avoids delving into the realm of a horror story preferably choosing to focus on poetic, romantic supernatural scenes.
Such precision is evident within Atlantics with single take scenes of the men in a truck singing after finishing work, handheld camera shots and lingering, hypnotic visuals of the moon and ocean. Atlantics has minimal dialogue and naturalistic sounds with Diop trusting the cinematography to convey the messages with close ups as a device in various scenes. At times, the cinematography is elliptical, which may be confusing, but empathetic which is certainly an effective technique and demonstrative of Diop’s admirable directional vision and masterful storytelling.
Cannes Related: Apocolypse Now (1979)
Diop solely used non-professional actors to film Atlantics, which is key to ensuring there are authentic stories made reflecting the experiences of the communities within African countries. Mama Sané as Ada delivers a tenderly nuanced and beguiling performance, and is fascinating to watch with a haunting expression at times.
The decision to film within the Senegalese language Wolof cements that authenticity and language is a key element of Atlantics. As only a handful of words are spoken in the official language, French, and the use of English signifies official communications within the police station. Diop is part of the prominent Diop family in Senegal and as such Atlantics is a personal project which developed from a short film by Diop, Atlantiques, in 2009.
Atlantics is a hauntingly beautiful film that will entice many with its romanticism, subtle unveiling of the political narrative and the encapsulation of a developing community which is rich with culture and hope. As Ada progresses, her hair style changes in a scene reminiscent of Girlhood, there is a sense of hope for the future, hope for the community and that overall sense of satisfaction that a degree of justice prevailed by the film’s conclusion with its meaningful message.
Following such an affecting debut, Diop’s directorial profile is one to watch in the future!
Atlantics is a Netflix film which will hopefully enable this cinematic delight to be viewed by many.
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