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Assessing this move from the perspective of the pieces themselves—including an elaborate carved throne, a towering statue of King Ghézo, and metallic markers of death—as well as the recipients of these revenants, Diop takes a brisk yet thoughtful look at whether even antiquities can go home again.
The film avoids polemic and instead presents itself as informed and inquisitive blueprint for the ways in which we discuss anti-colonialist action.
At just over an hour, Diop’s strange, captivating and rigorously intellectual film leaves a mighty impression well beyond its compact length.