Desrances

Côte d'Ivoire was one of post-colonial Africa's success stories: a vibrant economy and relatively stable (if largely undemocratic) governance. But since the 1990s the country has experienced bouts of political instability and violence. 'Desrances' looks at the experiences of a man and his daughter during one of those times.

When we first meet him, Francis Desrances is a fisherman in Haïti. After most of his family are slaughtered in one of that country's more frequent bouts of political instability, he relocates to Côte d'Ivoire - home of his ancestors - and, several years later, is living the African middle-class dream, with a business of his own, a nice flat, a daughter and a wife pregnant with a longed-for son. But this all comes crashing down around his ears when a disputed presidential election plunges the country into violence. Francis desperately searches the city when his wife, who went into labour when the family were attacked by drugged-out thugs in their own home, disappears. Twelve year-old daughter Haïla accompanies her father, trying to protect him as he grows ever more distraught and takes ever-greater risks.

Although the final twist will surprise very few viewers, Burkinabé director/screenwriter Apolline Traoré has created an exciting film that exhibits an ever-increasing level of tension as it traces first the increasing political troubles (I found the portrayal of ordinary Ivorians' reactions particularly interesting) and then Francis' search for his wife and son. In this she is helped by decent performances from Haitian actor Jimmy Jean-Louis as Francis, and Naomi Nemlin as Haïla, who is very impressive for a child actress.

A good, entertaining mix of world cinema and out-and-out thriller, 'Desrances' deserves a large audience outside of the festival circuit (I saw it at the 2019 London Film Festival).