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Abstract
Mati Diop's 2019 feature film Atlantics won the Grand Prix at Cannes that year. It is a polyphonic tale of migration, love, loss, and fantasy that takes place in Dakar, Senegal. Using fantasy and mystery to create opacity, as defined by the writer and theorist of postcolonialism Édouard Glissant, Diop seeks to give dignity to the victims of migration and to invite viewers to establish a relationship with the film. The combination of diverse poetic lines gives the film striking richness and resonance, as well as the ability to comment on sociopolitical issues without being limited to one interpretation. Despite the immobility of the problems she brings to the screen, Diop transmits hope for other mobilities, which she herself brings to life and embodies.
Contributor Notes
Tina Montenegro (PhD, NYU) is Visiting Assistant Professor of French at Wesleyan University. She is a medievalist who works on French, Occitan, and Italian vernaculars and on Latin. She is particularly interested in the art of rhetoric, poetics, didactic writing, and the conditions of possibility of discourse in general. She has presented at conferences and published on Brunetto Latini's Tresor, Guilhem Molinier's Leys d'Amors, and Christine de Pizan's Livre de la Mutacion de Fortune. She has also published and translated texts on contemporary art and art theory. She holds a Masters in Philosophy from the University of São Paulo-USP and a BA in law from Paris 1 Panthéon-Sorbonne. Email: acm569@nyu.edu