Some time during the late 19th century, French invaders seized thousands of valuable artefacts from the Kingdom of Dahomey and transported them to Paris. Well over a century later, 26 of these historical artefacts are returned to modern-day Benin: a process captured in this artful and effective documentary short feature. Director Mati Diop has developed something well beyond a simple historical account with Dahomey. It is a well-crafted and patient exploration of cultural theft, colonialism, and national identity.

The film sits at a crossroads between documentary and arthouse feature. Some scenes simply document the packing, transportation, and care of historical antiquities, although from time to time there are shots that have clearly been staged for dramatic effect; recording a crate being levered open from the inside, for example. Other scenes form dreamlike, abstract monologues that seem to come from the various statues and other objects themselves.

In the film’s second half its focus shifts to the public response to the works’ return to Benin, specifically via a group discussion at the University of Abomey-Calavi. Some participants are enthused, others are sad they have been missing for so long. One young woman points out the enraging state of affairs where thousands of treasures were stolen and only 26 have returned. Another participant notes the sheer damage caused to the Beninese by French colonialism, pointing out that due to French becoming Benin’s lingua franca its people cannot even discuss their history and culture in its own language.

Diop cleverly asks questions of her audience, and gives voice to the Beninese whose cultural heritage – to use the words of another debate participant – was stolen. More importantly, she provides long meditative sequences in which the viewer can think about the issues raised: the cultures transformed, the damage done, and the further reparations that are clearly deserved. How many archaeological artefacts continue to remain in foreign hands? How many countries face the same mass cultural theft as Benin? This is the sort of documentary guaranteed to give those at the British Museum nightmares.

At just over an hour in length, there is not much time for Dahomey to explore the answers – but it does not need to. It is not difficult to recognise the injustices done. Dahomey starts the sentence: each member of the audience is more than capable of finishing it.

Dahomey is now screening in select Australian cinemas.