Rwanda By Gatore: Film Analysis

genocide their roles and capacity for violence is diminished by the scholars and publics phrase of otherworldly forces. This is done through the use of words such as “evil,” “unimaginable” or even “extraordinary.”
Gatore’s book is saturated with introspection. Niko’s entire section is devolved completely in his own mind with absolutely no dialogue whereas Isaro, whose interludes do contain some dialogue, it is mostly composed of exposition and description of Isaro’s thoughts. Her deep and thought provoking question are rooted in her attempts to understand how she is attempting to move on from her trauma much like victims and survivors of the Rwandan genocide attempt to do as well after the events. She poses a self-reflective question “Why do the different moments in in a given life make sense only after they they’ve been lived? Is life a journey backwards?” (Gatore, 44) We get a sense form the question just how powerful the events of the Rwandan genocide are and how pressing it truly is because Isaro struggles to make sense of the events of her life as it is a consistent and crucial moment of her life and she constantly is stuck
in her own thoughts.
Much like how Isaro is stuck in her thoughts and memories, Augustin faces obstacles in moving forward as well. While the film devolves in producing an accurate portrayal of the genocide in its anachronistic storytelling when it jumps times periods, the main idea gathered from these scenes is meant to symbolize the struggle of memories of the genocide and how it presses on the survivors as well as the perpetrators. In a particular scene, Augustin has finally made contact with his brother after 10 years where he demands to know what happened to his family, this scene is done near the end of the film which seems to serve a purpose or more aptly a “weight” in the pressure of the memories of the genocide that were portrayed. “It is time I know what happened to my family. I’m not sure you’re ready. I want to know what happened to my family!” (Peck, 2005) this line connects with Isaro’s thoughts on the subject of her trauma following the genocide after her adoptive parents saved her. “They deprived her of the possibility of being submerged by sadness and resurfacing from it.” (Gatore, 46) both the scene and this particular line from the book allow insight into the thought process of grief.
It may not always be healthy constantly thinking of the suffering that surrounds you however, it is important to allow the space and room for victims and survivors to feel the weight of the memories of the genocide because they definitely have reason to. Many may say that their demand to find insight in their trauma may serve as more detrimental to peace reconciliation both characters attempt to explain that without being able to discuss their grief it is more internalized agony on their parts. Augustin is unable to move forward with his life and he constantly thinks of what happened during the genocide, which is signified in the opening scene when a student poses the question “why does it matter?” Isaro begins to actively portray bitter feelings against those she cares about such as her parents and her friends.
The film’s main strengths relies in its ability to forge connections with the characters and the ghosts that will haunt Rwanda.
The focus on the eyes of the victim is present here as it has been in many works that memorialize genocide. In a particular scene from Peck’s film after Tutsi or Moderate Hutus were lined up by the Interahamwe to be executed, each person’s face was focused on, their eyes boring into the camera lens at us. Through film it quickly becomes easier to establish connections to the people portrayed. It is slightly harder to do this than through literature, which is not to say that it cannot establish the same connection through words, however it takes about half the time and allows us to visualize the possibility of violence perpetrated by human being, not the monster we imagine in their place. Honoré as a
perpetrator