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The film relies much on visual than verbal in explaining the entire portrait of Cameroon where France’s family lived. Denis concentrates on the relationship between the characters that are inflicted with various roles as child, wife, servants and colonialism. This is highlighted by demonstrating the house in terms of racial spaces demarcated as private or public places. The black Africans are featured as the servants whose places, where they shower or eat, are the public spaces while the whites’ homes are all private places.
Two scenes seem to display this whereby; the public places are constantly on display. The scenes also display the relationship between France’s mother Aimee and their Cameroon servant, Protee who are almost of the same age. The relationship between the two is all what is meant to shape the life of France. The flashback does not much reflect on the experiences of France as a girl but on the relationship of Aimee and Protee, the two characters.
In the first scene, Protee is taking a shower. On the other hand, in a plain view of the house, the male servants’ shower is outside. This scene is set during the day when there are rich colors and the sun is high. In the film, Protee is seen in a long shot soaping and rinsing his body. In the foreground of the frame are the servants’ quarters and Protee while the big house is set in the background. Denis makes the viewer aware that France and Aimee are returning from a walk during the time when Protee is showering. They pass behind the shower area while Protee does not notice them. On nearing the house, France talks to the mother, Protee thereby hears the voice. He is very frustrated and freezes in the fear that, if they turn to his side, they would see him naked. In this scene, Protee showers by himself in the servant quarters which are set as open public spaces with no privacy. During this particular period, the film firmly establishes in the
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