Abstract
This review provides both context for and aesthetic analysis of Idrissou Mora-Kpai’s latest film, Indochina, Traces of a Mother. Starting with a brief synthesis of historical work dealing with colonial soldiers fighting on behalf of France, it attempts to ground the multiple spaces of the French Empire in which the film takes place: West Africa and Southeast Asia, Benin, and Vietnam; the 1950s and today. Far from a politicohistorical documentary, however, Indochina explores the human possibilities of racial mixing and the psychological traumas of the Afro-Asian children most often torn from their mothers and place of birth at the close of the war. Indochina’s exploration of heretofore uncharted ground in French, African, and Vietnamese history and its insight into the unexpected psychological impacts of colonial warfare illuminate the present.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
