Atlantic (2019)

Directed by: Mati Diop | 105 minutes | drama | Actors: Mame Sane, Amadou Mbow, Ibrahima Traoré, Nicole Sougou, Aminata Kane, Coumba Dieng, Ibrahima Mbaye, Diankou Sembene, Abdou Balde, Babacar Sylla, Arame Fall Faye, Ya Arame Mousse Sene, Babacar Samba, Astou N’ Fall, Seyni Diop, Ndeye Fama Dia, Mame Victor Samb, Omar Dieng, Asta Kane, Matar Diouf

First love in a scorching, scant heat – that of Senegal, is not a romantic story in advance. Where there is survival, love is usually an afterthought, or necessary drama. But true love inspires all, because it was born in our reptilian brain, as a spark for later. Love in the making survives even through concentration camps, so also in the hopeless warm glow of Senegal – the setting of ‘Atlantique’, winner of the Grand Prix Cannes 2019 – the second important jury prize next to the Golden Palm.

‘Atlantique’ refers to Senegal’s location on the west coast of Africa, and the ocean that must be navigated to reach paradise is depicted in detail. However, there is no such thing as paradise in ‘Atlantique’, the story of a childhood sweetheart broken by migration. Souleiman (Ibrahima Traoré) leaves for Europe unannounced; girlfriend Ada (Mama Sané) marries a man she doesn’t love, the affluent Mr Ndiaye (read: he has a car and a king-size bed).

The atmosphere of necessity is well captured with moody music, setting suns and almost documentary night images of Dakar – a structureless sand city, grim at night.
The description here is more flowery than the short, functional dialogues in the film. ‘Atlantique’ is neither romantic nor documentary, despite its repetitive character. It is an adult African drama, with the well-cast Sané as the anchor point.

Rolling waves in the surf symbolize Ada’s loss: no big words, no trickling tears. Effects are unnecessary with this image; in the background a row of listless men with bottles of beer. Young girls dream, these men never again. Maybe Souleiman will return, that is also not certain, because we only see a flashback at the end, and then the horizon. Then Ada on the bed surrounded by banknotes, and then Souleiman in the doorway, isn’t it? ‘Some memories are harbingers’.