‘Black Tea’ Review: Abderrahmane Sissako’s Cross-Cultural Love Story Falls Short

The film opens with a promising sequence set in Abidjan, but it quickly loses its way. The protagonist, Aya, is seen in a crowded wedding hall, clearly unhappy with her situation. She decides to leave her fiancé at the altar and embarks on a journey to China. The film then shifts to Guangzhou, where Aya finds herself drawn to a tea boutique run by Cai, a lonely middle-aged man. As their love story unfolds, the film tries to capture the slow, patient nature of tea steeping, but it lacks the passion and conflict necessary to make the romance compelling.

The secondary characters in the film, including Cai’s ex-wife and children, are underdeveloped and fail to add depth to the story. The film’s setting, a night market street in Chocolate City, is meant to evoke a sense of collective social hum, but it feels artificial and lacks authenticity.

Visually, the film is beautifully shot, with attention to detail and contrasting skin tones. However, the digital images have a crispness that works against the film’s attempts at creating a dreamy atmosphere. The occasional use of cigarette smoke and tea steam to create an atmospheric haze feels forced and unnatural.

One of the highlights of the film is a day trip to a green tea plantation, where the lush greenery and magical lighting provide a refreshing break from the stifled atmosphere of the rest of the film.

Overall, ‘Black Tea’ is a disappointing entry from Abderrahmane Sissako. While it has secured distribution in France and the US, it is unlikely to resonate with arthouse audiences. The film lacks the depth and emotional resonance of Sissako’s previous work, leaving viewers longing for the powerful storytelling that made ‘Timbuktu’ so memorable.