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Not to be confused with the Miramax film starring Juliette Binoche, Claire Denis’s “Chocolat” documents French colonialism in Cameroon through the eyes of a young French girl named France, her mother Aimée, her father Marc, and their servant Protée. The film begins in present day Cameroon with an adult France accepting a ride from a black man and his son. Soon, we are swept back to her childhood, spent in a roomy house staffed with servants. One such servant, Protée, has a special, almost secret relationship with France as he teaches her bits of his culture and keeps her out of trouble. As more white people descend upon the family, Protée is pushed to the edge, especially when Aimée suggests that she, too, has demands. The effect on France, who trusts Protée more than she does anyone else, is devastating.
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The quiet unfolding of relationships and the introduction of new characters is more episodic than connected - little intimate glimpses here and there. Shot in long, sweeping, often silent frames, this movie is as much about what isn’t said as what is. Emotions are never explained but instead flash across the faces of the actors.
This French art house film gives more weight to the cinematography, fixing its characters in tableaux, than to the spare plot. The acting is understated and often enigmatic, allowing the psychology of the characters to emerge with subtlety, and the scenes are shot without much context. Despite this, “Chocolat” has a quiet, simple power. Not for the impatient, this film will appeal to those who are willing to sit back and be transported into the unique artistic vision of its director. Recommended for Francophiles and those with an interest in colonial-period Africa.
This is a very unusual movie, and perhaps not for everyone’s taste. Enormous tension builds up in the movie, but it doesn’t explode. There’s no climax (and/or anti-climax). The tension just dissipates away strangely; it’s not one of those “feel good” movies. The arid beauty of the movie’s scenery is striking, and is a welcome counterpart to jungles and safaris in most other Africa movies. The movie seems to possess a number of allegorical dimensions about life and history, not restricted to the French colonial experiences.
The young French woman who has returned to Cameroon seems to be in search of something, be it memory, or something to identify with her childhood experiences there, but like the characters which her reminiscence conjures up, she is faced with some kind of impenetrability. It’s like what her father told her about horizon when she was a litle girl, “The closer you get to that line, the further it moves. If you walk toward it, it moves away. It flees from you. I must also explain this to you. You see the line. You see it, but it doesn’t exist”. All the time, there is a precarious sense of equilibrium and balance, but any attempt at ’something more’ is nearly impossible, and the people in the movie know it.