Munyurangabo

According to the director, the film is the product of a movie making course he taught in Rwanda. The result is a fine, unpretentious and heartfelt movie that has a feel of authenticity.

Almost anything Rwanda is today seen through the stain of the 1994 genocide. The memory of that awful event is a core component of the narrative, though it insinuates itself into the plot slowly.

A particularly memorable moment near the end is a declamation of a poem. Because it is long, you should prepare yourself for concentrated attention. Don't miss a word and at the same time hear the rhythmic musicality of the lines. It's an encapsulation of Rwanda and its hope for the future. Powerful and moving. Kudos to the director for including it.

Apparently it is the author of the poem himself that faces us. Not surprisingly he knows the poem by heart and gives it to us fast and furious while his face alternates smiles with melancholic looks, an apt expression to go with what the poem is saying.

The title of the film is explained at the end but a perceptive viewer may pick up the connection early on. Think nickname.

Separating Tutsis from Hutus is not crucial, but those who followed the events of the genocide in the press and acquired a feel for the racial differences between the two groups may sense the underlying tensions between the characters earlier.

One of the blurbs I read before watching the film mentioned both principals playing exiles that return to Rwanda. I don't think this is correct. One of them does come back from exile, the second is befriended by the first in Kigali from where their journey begins.

This film seems to meet with some success, but a first time film about Africa made by a New Yorker who was born in Korea, lived in rural Arkansas, and dropped his plans for Yale medical school appears an ambitious challenge. As it is, Lee Isaac Chung does a remarkable job with two inexperienced actors, who are also in their first feature film. It seems, however, that films should be a combination of structure and theme. The theme relating to long term emotional damage resulting from genocide is froth with emotion and confusion, not unusual for civil strife of such magnitude. One is left feeling that the struggle between the Hutus and Tutsis is far from over and that Rwanda is someday due for more of the same. Yet, it seems that once one accepts the emotional aspects, the film offers little. As a debut, the film appears passable and should stand on its own merits. The Left Elbow Index considers seven aspects of film--acting, plot, character development, artistry, film continuity, production sets, and dialogue--on a scale of 10 for very good, 5 for average, and 1 for needs help. The acting appears uneven at best, with some bright moments. The plot seems uneven probably caused by a lack of focus as to what the purpose of the visit might be. Walking in and out of scenes seems to provide little basis for this. There appears to be little character development, and the role of the poet seems a misfit. The artistry is average with good use of color and camera angles. Film continuity appears challenged by the seeming lack of a coherent plot. The production sets and the dialogue look to be average, with mostly outdoor scenes and local language. The Left Elbow Index average for this film is 2.1, raised to a 4.0 when equated to the IMDb rating system. The film is worth seeing since it does attempt to put a human face on the Rwandan genocide, and it gives an alternative to international media reports. I believe that Lee Chung has great potential for future films, films with professional actors, tighter structures, and clearer themes. I recommend this film, keeping in mind that it is a debut.