Dao Review: Structural & Formal Brilliance

Alain Gomis’ Dao is a riveting family drama that is simultaneously epic and intimate, playing with form and structure in new and daring ways.

Jarring at first, this fascinating structure from Gomis eventually becomes a clear masterstroke, presenting us with a mammoth drama that analyses a number of themes, from the processes of acting to the importance of connecting with your ancestors.

At its core, Dao is about family. The two stories at its centre bring together relatives and friends for two different occasions: one is the wedding of Gloria’s daughter Nour (D’Johé Kouadia) and James (Mike Etienne) in France, the other is a funeral in Guinea-Bissau for Gloria’s deceased father. In both scenarios, the family units are large and colourful; impressively, Gomis’ film sometimes feels like an Edward Yang film (A Brighter Summer Day, Yi Yi) in how textured these families feel. The two tales intertwine beautifully in a myriad of ways. Gomis guides us between each with an elegance and ease, seamlessly transitioning between both worlds and drawing parallels between each.

Dao will be too much of a testing watch for some viewers. The looseness to its stories—each has an endpoint, but the journey to each is freewheeling and dense—can feel alienating at times, but beneath this slightly tough exterior, there is a fruitful and vivid experience to be had. Gomis draws on his own memories to give Dao a furtive, slice-of-life texture, even casting some of his own family members such as Poundo and Nicolas Gomis. Aside from the fascinating family dynamics on show, which are amplified by both scripted and improvised moments, there is so much thematic depth to Dao.

From knowing your ancestry to patriarchal traditions, Gomis invites us to dive into a plethora of discussions and reflections. The juxtaposition of those still living in the village of Guinea-Bissau with their family members who are first- or second-generation immigrants in France is fascinating, with the script peppered with thoughts on their different experiences. Other scenes remain in the memory after the credits roll, from one in which adults discuss the abuse they endured as children at the hands of strict parents, to another where female villagers talk about being poorly treated by men in the past.

More widely, Dao is also a fascinating reflection on acting. By watching snippets of these real people talking to Gomis during interviews, we see how their own experiences inform their performances. The process of acting, of creating this whole film, is as important to Gomis as the actual telling of the specific stories.

Dao probably didn’t need to be 185-minutes long. There is a sense that some cuts could have been made to sharpen and improve what is still a captivating journey. But despite its occasionally testing nature, Gomis’ film remains a joy to watch, and one which grows in estimation after watching. Each element, from its warm original score by Gaspard Gomis, Space Dukes, Keita Janota and Cie to its playful editing, works in tandem to sketch vibrant stories on screen. Dao is, despite some bumps along the way, an intoxicating, unforgettable experience, and a family drama that is structured and shaped in the freshest ways.

Dao premiered at the Berlin Film Festival on February 14-22, 2026. Read our Berlin Film Festival reviews and our list of 20 films to watch at the 2026 Berlin Film Festival!