“Dahomey” wins top prize at Berlin film festival

Mati Diop’s documentary, focusing on the significant repatriation of looted treasures from Europe to Africa, emerged as the surprise winner of the top prize at the Berlin Film Festival, surpassing several accomplished directors.

The 41-year-old Senegalese-French director’s one-hour film, “Dahomey,” chronicles the return journey of 26 treasures from Paris to Benin in 2021, reclaiming artifacts looted by French forces almost 150 years ago.

Diop said the restitution is an act of justice

“Dahomey” captures the jubilant celebrations in Cotonou, Benin’s economic capital, welcoming priceless artifacts like a towering wooden throne and life-sized zoomorphic statues. However, it also raises questions from the younger generation about the fate of the thousands of objects still residing in French museums.

Upon receiving the Golden Bear for best film, Diop declared the concept of restitution as an act of justice, urging a choice between discarding the past as a hindrance or embracing it as a foundation for progress.

The triumph of “Dahomey” at the 74th Berlin Film Festival was an unexpected outcome, prevailing over seasoned directors such as Olivier Assayas and Hong Sang-soo, as well as the critics’ favorite, “My Favourite Cake”, crafted by Iranian filmmakers Maryam Moghaddam and Behtash Sanaeeha.

The documentary follows the journey of the artifacts back to Benin

In this documentary, Diop delves into a contentious aspect of the culture wars, the decolonization of European museums. From this focal point, she crafts a mesmerizing contemplation on identity, ancestry, and the burdensome weight of history.

In “Dahomey,” Diop accompanies these objects throughout their journey, documenting their meticulous packing, crate transportation, and arrival at the presidential palace in Benin. The documentary predominantly relies on wordless footage. Diop purposefully allows the audience to observe quietly through fixed shots, capturing moments of packing, unpacking, careful wrapping, and measurements. Notable among the artifacts are the intricately carved wooden effigies portraying zoomorphic creatures, such as a shark’s body on human legs and a half-bird, half-man creature, along with a majestic statue of King Gezo, the ruler of Dahomey, defiantly standing with one arm raised.

The juxtaposition between the exquisite beauty and historical significance of these objects and the sterile modernity of the institutions housing them creates intriguing visuals. Scenes like King Gezo lying face down, wrapped in white polystyrene, or men in white coats scrutinizing the statues for damage with furrowed brows, highlight the contrast. Top of Form

“Dahomey” explores the connection between history and African identity

Another aspect of “Dahomey” is the exploration of the connections between colonial history and contemporary African identity. In a particularly sequence, one of the rare moments featuring extended dialogue, a group of students in Benin engage in a passionate debate about the significance of repatriating these treasures. Some view the restitution as a pivotal moment for the country, expressing their emotional connection to finally witnessing treasures they had only read about in school textbooks now displayed in their homeland. Others, however, bring attention to the political maneuvers at play, highlighting the potential for France to advance a diplomatic agenda in its former colonies through this process. The students’ cynicism is well-founded, given that the 26 artifacts represent only a fraction of the estimated 7,000 objects looted from Benin that still reside in French institutions.

What adds vibrancy to this debate is the profound meaning these fragments of history hold for the next generation of young Beninese. As they strive to shape their identity independent of Euro-centric propaganda and colonial legacies, the artifacts become symbols of significance.