Mati Diop’s Golden Bear-winning documentary explores the complex process of repatriating 26 historical artefacts that France looted from the Kingdom of Dahomey during the colonial era and displayed in its museums for years, back to their origin, the present-day Republic of Benin. In the first part of the film, a statue of King Ghézo, among these artefacts, becomes an imaginary narrator. Haitian writer Makenzy Orcel gives voice to the ancient king by reading a text he wrote. As we hear the King of Dahomey recall his memories of Africa, then the years spent in a Parisian warehouse, and his mixed emotions about returning to his homeland, we also witness the artefacts being carefully wrapped up, loaded onto a ship, and journeying back overseas. Upon the artefacts’ return to Benin when they are exhibited to the public, a new question arises: how can today’s society relate to these royal treasures from a different era, especially when the country's way of life has evolved so drastically over time? Does viewing these objects merely as artefacts and displaying them in museums signify a rejection of one’s own history and an acceptance of the Western perspective? This sparks a heat at the University of Abomey-Calavi, and debate rages among students, delving into issues of cultural identity, historical memory, and the implications of how history is framed and preserved.

Berlin 2024

Golden Bear