WATCH THE TRAILER HERE
First, the Recap:
To simply be seen as human. Sounds like an easy enough, LOGICAL enough, fair enough expectation for any of us living on this planet, regardless of race, color, or creed. Yet, there seems to be an ongoing, and highly unsettling trend throughout history where this idea finds itself challenged by those who feel their belief systems are absolute, THE way to follow, and anything, or ANYONE, that stands in their way is “the enemy”. However, what does it say when one of those people chooses to realize that ALL people are worthy of living a fruitful, fulfilling existence? It is 1994, Rwanda, and the Hutu are carrying out their “cleansing” against the Tutsi. When the local, and feared, Hutu witch doctor named Bazigaga (Eliane Umuhire) makes the decision to give shelter to a Tutsi pastor named Karembe (Ery Nzaramba) and his wounded daughter (Maély Mahavande) who are fleeing the merciless Hutu militia, what will be the price of compassion?
Next, my Mind:
Inspired by, while also being loosely based on, the affecting true story of Zula Karuhimbi’s efforts during the barbarous 1994 Genocide in Rwanda that saw her manage to help save over two hundred Tutsi lives, this 25-minute Oscar qualifying short film from writer/director Jo Ingabire Moys (credited as Jo Ingabire), producers Stephanie Charmail, Delphine Duez, Valentin Leblanc, and Boris Mendza, executive producer Gaël Cabouat, and associate producer Sonia Tardif D’Hamonville brings the sobering and devastating realities of mass murder in the name of ethnicity-centric “reasoning” to vivid life but as seen through the eyes of one woman who chose to stand against her own group for the cause of humanity and seeing the value of ALL people, putting her own life on the line to do so. What makes this film even more potent is the fact it finds its perspective drawn from the direct experiences of its writer/director Moys, who herself is a survivor of the Genocide after losing most of her own family to the savage, unrelenting violence.
Narrowing down the scope of the horrific events and focusing on a local Hutu village witch doctor and the fleeing father/daughter Tutsi refugees she makes the choice to take in, the mix of heartfelt drama paired with tangible tension is evident throughout the narrative as it unfolds. Calling to mind and/or presenting themes revolving around justice vs. revenge, superstition vs. faith, the worth of human life overall, the need for understanding and mutual connection, relatability of shared oppression, religion and its part in both good and evil deeds, along with the concept of being trapped in such an overtly ruthless and unbearable state of existence, this is one of those stories that makes one both shrink back in disbelief at the cruelty people can inflict on other people while likewise gaining a sense of undeniable inspiration by being reminded that even in the midst of such unforgivable atrocities, there are still those who decide standing up for a greater good and above any differences being labeled as “unacceptable” is far more paramount and necessary.
Additionally, this critic often finds it’s the blunt actuality of real life and the equally candid irrefutability of it has the most impact and awareness-raising power when presented through the medium of film. As is the case of a project like this, it isn’t at all in itself about being entertained, it’s about recollection (even when painful and not so easy to take), an honoring of those who chose to take action and make whatever progress and sacrifice for good that they were able to in the middle of hell, and to ideally cause us even now, almost nineteen years later, to consider what it might take to ensure something like this never happens again. It’s a wake-up alarm, and I feel this kind of shaking out of complacency or apathy is needed, because choosing to rise up and conquer wrongdoing or prevent it from occurring at all, regardless of what it is, is another important decision we must make to see the world free from unnecessary strife and loss of life like what transpired between the months of April and July 1994 in Rwanda. Tragic and unimaginable, yet within it, small but significant triumphs like displayed in this film.
Umuhire’s performance in this effort is another well-defined exercise in combining adeptly finessed understatement with multiple moments of more dramatically volatile fervency to create an engaging and realistic character through her title role as Bazigaga, a Hutu medicine woman/witch doctor whose reputation of possessing virtually supernatural powers has made her both respected and feared. But within her is the heart of empathy and care which is put to use when a Tutsi pastor and his injured daughter beg for shelter while being pursued by the relentless and murderous Hutu militia. Even as Bazigaga places her own well-being on the line in standing up to the militia leader and his men, who already know she’s harboring fugitives of “the other” ethnicity, she also finds it to be a lesson in learning more about the Tutsi and their oppression, even as she herself has been oppressed. It’s such a harrowing and heroic tale being depicted, and Umuhire’s excellent performance makes you feel every moment of both tension and tenderness being experienced.
Nzaramba also excels here, exuding a well-executed level of intense gravitas through his turn as Karembe, a Tutsi pastor who’s, as mentioned above, fled into the forest with his injured daughter while being hunted by the Hutu militia. Coming upon Bazigaga’s home, his plea for sanctuary is granted even as he soon finds himself both arguing and empathizing with her about the state of events that are unfolding, religion, and the entire notion of those elements that make us different yet really the same as people. They have a profound impact on each other, as even as Karembe harbors agonizing regrets about his home and family he left behind, his will to want to make things right and see an end to hostilities seems evident, especially for the sake of his young daughter. It’s a cry for freedom from persecution while at least learning that despite Bazigaga being Hutu, her own story of struggle is more relatable than Karembe would have anticipated. Again, it’s a grounded, believable character Nzaramba creates through his acting and does very well at it.
Primary supporting turns arrive from Mahavande as Karembe’s daughter who has been wounded in the course of their flight from the militia. Only thanks to what her father hopes is Bazigaga’s actual healing skills might allow her to not only live, but also learn about the reality of mercy and tolerance. Roger Noel Ineza arrives as Prof, the head leader of the militia group pursuing Karembe and who more than makes it clear to their potential savior that one way or the other, he will gain possession of them and that he doesn’t remotely fear her “power”, though the latter might be proven otherwise as the story unfolds. Multiple other appearances are made by actors portraying Prof’s militia group, including Aboudou Issam as Voyou. So, in total, “Bazigaga” stands as an unfaltering portrait of the evil that men are capable of against one another while also showcasing what depths of bravery and unfeigned understanding and solicitude a right heart can offer that illustrates for then and now why we so desperately need to see benevolence conquer hate.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
