In 2007, a group of international film-makers set up the Burundi Film Center, a non-profit initiative designed to provide interested young Burundians with an opportunity to realise their cinematic dreams. The nation, emerging from the throes of civil war, cross-border conflict and poverty, was seen as having reached a turning point where the population could at last begin to express their cultures, celebrate their differences and realise their creativity. Trained in the art of film-making by the international volunteers, the participants could give Burundi a voice on the world stage. Under the mandate “Inspire, Educate, Entertain”, a selection process yielded 5 potential scripts that went into production during the summer of 2007, the end result being 5 short films that today have been played at film festivals across the globe and are also available online. I had the opportunity to catch them recently and considering their amateur origins, found them quite enjoyable. While the young film-makers are of course helped by the volunteers with everything from art direction to script editing, the works clearly bear their marks, telling the stories they want to be seen.
Covering a broad range of topics guaranteed universal appeal from AIDS to refugees, the shorts films have something for everyone and hopefully mark the beginning of greater projects down the road. Indeed, the BFC is still active today and working to give Burundi a bona fide film industry. I think it’s a great endeavour – tempering the world-weary cynic and suggesting there may be hope for humanity after all. Below are short reviews and synopses of the first five films:
Moma is a young man who dreams of becoming an architect, saving every penny of his day job to enroll at the local university. However, his impoverished family desperately needs money to buy a house of their own, presenting Moma with a difficult choice. A solid human drama, Bigger Plans ably demonstrates the talent of these new film-makers, its script well-plotted and evenly-paced for the 11-minutes of running time and boasting an engaging story of universal appeal. Landry Nshimye has a definite screen presence as the industrious lead while Kareem Bakundukize gives a convincing natural performance as his friend Zozo. The sets are also quite expressive, with Moma’s dilapidated house for example clearly conveying the family’s predicament and the tough decision set before him. All in all, a very solid first effort.
Nothing’s The Same
Shot in just one day, Nothing’s The Same tells the story of Anémone, a young Christian girl about to marry having her ordered world violently turned upside-down by a life-changing traumatic incident. Coming in at just under 11 minutes, the film has much to convey in that time, dealing as it does with two major social issues and the way in which those affected by them have to deal with the cold realities they bring. The principal cast therefore have a complex sea of emotions created by the predicament that befalls their characters, and although it proves something of a challenge, they get the message across. Ginette Mahoro as Anémone has clear acting potential and a very expressive face that will hopefully be seen again in the future. Produced at breakneck speed by the sound of things, Nothing’s The Same is nonetheless an excellent effort considering the high goals the production set itself. The short also benefits greatly from its strong use of exterior filming, giving the viewer a snapshot of everyday life in Burundi. The music too is well-chosen, dramatically changing in character following the major plot conflict. Clearly, a great deal of thought went into this work beforehand.
“Covering a broad range of topics guaranteed universal appeal from AIDS to refugees, the shorts films have something for everyone and hopefully mark the beginning of greater projects down the road.”
In Reveal Yourself, a chance encounter between a Burundian woman and a Congolese refugee on the outskirts of Bujumbura, the nation’s capital, bridges the wide gap between these two disparate groups leading to new-found understanding and possibly more besides. Writer/director Ginette Mahoro (star of Nothing’s The Same) opts for visual rather than dialogue-driven storytelling for the most part, letting the city’s war-impoverished evacuees paint their own picture – the destitute denizens of the streets we see on screen being the genuine article. With the refugees typically ignored by the local population, Reveal Yourself shows how easily acts of humanity may bring the two sides together. Although I found the ending rather abrupt, causing the overall short to feel more like a scene from something larger rather than a film unto itself, Mahoro’s subject matter is compelling, her visuals evocative, and her choice of leads well-founded, with Linda Kamuntu and co-star (whose name I can’t find anywhere) building some nice chemistry in the short time they are together on screen.
Aline, a university student from the countryside, finds herself the unwanted centre of attention when she comes to stay with her friend’s family in Bujumbura. As the title suggests, Abuse tackles one of society’s most damaging social problems, with the cast competently realising the power play, fear and reasons for its recurrence. Carrying the ambitiousness of Nothing’s The Same, it did feel as though 10 minutes was rather rushed for the subject matter, something that needed time and a build-up of tension to really be effective. However, given the limited time and resources available to the production crew, Abuse is a valiant effort, coherent, well-structured and evenly-paced, with a conclusion viewers should find satisfactory.
Kivumvu: Basket Boy
Tired of being relentlessly teased by his peers for his unusual name, Kivumvu determines to find out its origin, discovering the difficulties surrounding his birth in the process. Every entry in the BFC series has been entertaining, though for me, Kivumvu is the cream of the crop. Possibly the richest of the five productions, it boasts a large cast, flashback sequences and a number of locations all used to good effect. Abdul Karim Bakundukize gives a stand-out performance as the boy’s father, frustrated by the high fees the hospital demands for assisting in the birth of his new son. The film’s commentary on the local health care system favouring the haves over the have-nots is certainly something viewers worldwide will have no trouble sympathising with, the parents’ unique solution for which is sure to raise a smile. Jeremie Hakashimana’s soundtrack is also wonderfully-evocative, helping along the pace of unfolding drama nicely. An excellent effort for all involved.
This brings us to the end of the ‘B’ series. As with last time, this means a few weeks’ break from the main run of reviews and a chance to delve into other topics of interest in the world of cinema. Next week however will not seem terribly different, as I recently had the chance to see Bedevilled, a memorable South Korean thriller-horror first released in 2010, and couldn’t help writing down my thoughts. There is an English-language trailer, but I thought it was dreadful, and doesn’t do the film any favours. Therefore, below you can find the original Korean trailer, in which the visuals will give you a good enough idea of the story.