Munyurangabo

Munyurangabo

We’ve seen some powerful, horrifying films about the war in Rwanda. But we’ve never seen anything like this—a film made with the help of Rwandans, informed by their own experiences, and performed in their own language.

Sangwa’s a prodigal son of the Hutu. He’s come back to the family farm after three years in the city, only to find his father furious and reluctant to forgive. It doesn’t make things easier that Sangwa’s brought a friend along with him—’Ngabo, a boy from the Tutsi people. Watching Sangwa’s family, ’Ngabo is reminded of all that he lost in the war between the Rwandan peoples. This only fuels his determination to journey on from there, machete in hand, to find and kill the man who slaughtered his family.

An American filmmaker who grew up in South Korea, Lee Isaac Chung made this film in order to teach young Rwandans the craft of filmmaking. It’s a work of selflessness and service, a mournful and beautiful work of art that is poetic, meditative, powerful. (Roger Ebert called it “a masterpiece.”) The actors, voices, scenes, stories—even the jokes—come from the people who live there. As Chung paints authentic pictures of today’s Rwanda, he resists the temptation to conclude on a note of false hope. Reconciliation in this blood-soaked country will be a very steep climb indeed, a process of daily forgiveness.

— Jeffrey Overstreet

  1. Directed by: Lee Isaac Chung
  2. Produced by:
  3. Written by: Samuel Gray Anderson Lee Isaac Chung
  4. Music by: Claire Wibabara
  5. Cinematography by: Lee Isaac Chung
  6. Editing by: Lee Isaac Chung
  7. Release Date: 2007
  8. Running Time: 97
  9. Language: Kinyarwanda

Arts & Faith Lists:

2010 Top 100 — #19

2011 Top 100 — #31

2020 Top 100 — #41

Similar Posts

  • Eureka

    Simon Kessler is a psychologist high up in the human resources department of the Paris branch of the German company chemical company SC Farb. Kessler’s boss gives him what must be an intimidating job, though he never shows any hesitation. He needs to investigate the company’s CEO, who has been acting irregularly, deteriorating quickly from…

  • Wings of Desire

    We must decide to be human. In the People’s Square, before a great crowd of witnesses and in representing them, we must make the decision to be wholly human. Wim Wenders’ wonderful and dreamlike 1987 fantasy, Der Himmel über Berlin, portrays two angels observing the people of a divided Berlin.   As the camera floats freely…

  • Amadeus

    There is little, if any, historical accuracy in Amadeus. The portrayal of Mozart (Tom Hulce) as vulgar libertine is certainly based in much historical fact, but as seen through the eyes of Antonio Salieri (F. Murray Abraham), the film’s antihero protagonist and unreliable narrator, even the extent of the genius’ crassness can be called into question….

  • Magnolia

    “This was not just a matter of chance,” the narrator of Magnolia tells us, and so begins an odyssey of coincidence, absurdity, failure, and redemption. A television producer lies dying, his memory failing, crying out for his estranged son. A cable-TV pseudo-celebrity, renowned for his seminars on how to successfully seduce women, finds himself confronted by the…

  • Vivre Sa Vie

    My Life to Live (1961) opens with a series of closeups of Nana (Anna Karina)—her left profile, her face straight on, her right profile, and then, in the first dramatic scene of the film, a two-minute shot of the back of her head, as she breaks up with a boyfriend in a busy Parisian cafe. The…