Democratic Republic of Congo Best Films

The Mercy of the Jungle – Pan African Film Festival 2020

The Mercy of the Jungle starts with the same scene it ends with. In it, an armed Sergeant Xavier chases a fleeing rebel across an open field. He appears weary of the endless war but mechanically carries out his duty. Book-ending the film with this same chase scene of Sergeant Xavier in a weary pursuit traps him within the conflict. Every scene he appears in as a Sergeant ready for war. He rarely discloses anything about his dreams or personal life. The war in the heart of the jungle covering Rwanda, Uganda, and the Democratic Republic of the Congo has consumed him, just as the soldiers in Francis Ford Copolla’s Apocalypse Now are gradually consumed by their war. Whilst he can switch uniforms and play both sides of the war, the cyclical nature of the film indicates he can never escape the conflict or the jungle it takes place in.

The suffocating jungle provides the first test for a lost Sergeant Xavier and Private Faustin, as they try to find their troop. It’s overgrown, making it hard for them to see beyond a few meters. Even in the clearings the mist prevents them from seeing much further. Plus there’s the hot humidity that slowly saps the precious moisture from Xavier and Faustin as they try to find the way; a death curse as there are no signs of fresh water. The jungle is their inescapable prison.

The sounds of the fauna at night tell Xavier and Faustin that they’re not welcome in the jungle. We never see what makes the noises, which helps to make us more paranoid of what could be out there. It’s not clear if it’s an animal stalking them, or just animals passing by. Whatever it is, the fear of the unknown only further demonstrates their complete loss of control in the jungle and slow descent into madness. The diegetic sounds are supported by a loud, deep, ominous soundtrack that builds the feeling of hopelessness. The jungle is consuming them.

The inescapable, consuming jungle goes hand in hand with the inescapable, consuming war. Just as Sergeant Xavier is stuck in the jungle surrounded by unknown, unwelcoming sounds, he’s stuck in the war surrounded by unknown, unwelcoming armed groups. The war is faceless. The only thing that separates Sergeant Xavier from the different armies and rebel groups he encounters is his uniform. Otherwise, they speak the same language and look the same. So, to avoid death, Xavier and Faustin carry multiple uniforms so they can change clothes to blend into the areas they trespass. They even make friends with soldiers and communities they originally fought against. However, although they can fluidly switch sides, Sergeant Xavier can never escape the war. The one time he tries to disguise himself as a civilian, he’s attacked because it’s obvious from his ‘Muhammad Ali’ physique that he’s a soldier. Whilst he can switch military uniforms, he can never return to being a regular civilian. He’s condemned to a life of war.

The Mercy of the Jungle depicts the inescapable cycle of war around the Virunga National Park in the heart of Africa. The suffocating, disorientating jungle is reminiscent of the jungles depicted in Apocalypse Now and Aguirre, whilst the inescapable war is reminiscent of those depicted in War Witch and Beasts of No Nation. The Mercy of the Jungle stands up to all four of these films as one of the best jungle war films there is.

Head to our Pan African Film Festival Hub for more reviews and short films from the Pan African Film Festival 2020.

Makala – Live the Life of a Charcoal Miner in Rural DR Congo

Makala Film Difficulty Ranking: 3

This documentary film is on another level. You’ll rarely get this close to a life completely different to the one you’re used to. Not just because you probably have no idea about the lives of charcoal miners in DR Congo, but because you rarely get films that are this intimate. There are so many close ups and shots where Kabwita’s emotion is so clearly visible that you’ll feel like you’re there right beside him. The only problem is that you’ll feel even worse for not being able to help him up those hills.

Why Watch Makala?

Find out how to make a living in rural Democratic Republic of Congo
The incredible cinematography! (detail below)
Learn how to make charcoal
It’s an excellent documentary – it won Critic’s Week at the Cannes Film Festival 2017

The Breakdown

Makala starts with Kabwita (our protagonist). The camera follows him through the bush. He’s carrying two axes on his shoulders. He’s looking for a good tree. After a minute or so, the perfect tree appears near the top of the shrub covered hill. After a quick prayer, Kabwita starts cutting down the tree.

Makala covers the whole process of making a living from charcoal. You’ll see Kabwita make the product (charcoal), transport it, and sell it. This is how he manages to live.

What’s amazing about the film is how intimate it is. The director, Emmanuel Gras, found Kabwita whilst working on his previous documentary (also set in DRC). Kabwita agreed to the film in return for help building the home he mentions in the film. This is how the director manages to get so many close-up shots of Kabwita documenting his trials and tribulations.

Because of the connection the close-ups establish between us (the audience) and Kabwita, there are many times when we want to reach out and help him. We can feel his struggle pushing the charcoal logs up hills and also his frustration when a lorry crashes into his livelihood. Of course, the director could help, but to do so would be to take away from our experience. It’s the director’s responsibility to direct the life of the charcoal maker. It’s our responsibility (the viewers) to be enlightened and be inspired to make a change.

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Conclusion

Makala is a beautiful film. The cinematography at times is almost unbelievably real. A lot of the shots are so intimate and close that you’d be forgiven for forgetting that this is a documentary. We are so used to seeing unrealistic intimate shots in Hollywood films (close-ups of people kissing that you’d never see in real life) but this kind of intimacy is unusual in Documentary film. In Makala you get to experience the life of the charcoal maker, not just witness it.

Felicite (Democratic Republic of Congo) – A Champion of Creativity

Felicite Film Difficulty Ranking: 4

Want to truly get involved in a film? In Felicite you are given the story-line and a bit of character development before you are almost left to your own devices. Like the great works of literature, you’ll have to add your own interpretations to draw your own conclusions. Also, there’s one thing that this film has over the great works of literature: the music!

Why Watch Felicite?

If you like music. The Kasai Allstars are all over this film!
To experience the chaos of Kinshasa
To take part in the film making process – like in the best pieces of literature, you’ll get to add your own interpretations
Come on, how many opportunities do you get to watch great film from the DRC?

The Breakdown

The film starts with Beya singing in a dusty bar in Kinshasa. The bar is small, the lighting is dim, and locals are clustered around tables drinking and catching up. As the locals drink and chat Beya puts crams everything into her voice. It’s like she’s trying everything to get everyone’s attention, to stand out in chaotic bar in a chaotic city.

Music is the driving force of Felicite. There’s the expressive, more free form music of the Kasai Allstars and Beya, and the structured symphony orchestra. The structured orchestral music signifies the moments of our lives that we cannot control: fate. It appears when Beya’s son is hospitalised and for other events out of her control. In contrast, the bluesy music of the Kasai Allstars signifies Beya’s response to fate. The melancholic emotion she puts into her singing is her acceptance of her fate and inability to control it.

The film is split into two parts. The first part is told in a classical format that all of us brought up on Hollywood films would recognise. You learn a bit about Beya, then her son is hospitalised, so she has to try and find money to pay for the treatment. It’s pretty familiar storytelling. In contrast, the second part is a lot more artistic and subjective. There’s some visions and dreams mixed into all the music. Unlike in part one where we can just accept what is shown to us, in part two we have to actively engage with the film and construct our own interpretations.

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Conclusion

Felicite is a work of art. Not in the sense that all movies are works of art, but in the sense that it pushes the boundaries of film. It is a champion of creativity, and uses music, and art (through the visions and dreams) to create a much more unique film. Best of all, unlike a lot of films, you are expected to take part in the film making process and add your own meaning.

Downstream to Kinshasa – AFI Fest 2020

The story of Downstream to Kinshasa starts with the Six Day War from 2000. Unlike the more famous 6 Day War fought between Israel and Egypt, this one was fought between Uganda and Rwanda in the eastern part of the Democratic Republic of Congo (DRC). Everything centered on the town of Kisangani where approximately 4,000 people were killed and 3,000 injured.

Among the survivors was director Dieudo Hamadi. In the Q&A for the film, he mentions that he was 15 or 16 during the conflict and doesn’t remember much about it. But on one return to his hometown his memories of the war were triggered from meeting a group of people (who become the focus of this documentary) that were disabled by it. He was privileged in being able to reconstruct a normal life and forget about the war, whilst others were permanently scared by it.

He was not the only one that forgot. And if one man who lived the war had lost his memories of it, it’s not too surprising that the rest of the town and country have forgotten the war too and the victims of it.

In Downstream to Kinshasa, we follow a group of people disabled by the war. They travel to the capital to make their story heard after it seems to have fallen on deaf ears at home. They want reparations from the country that refused to protect them.

Throughout their time in Kisangani and through their journey to Kinshasa, they’re shot going about their lives. One of the most incredible sections is their journey on a flat topped cargo boat down the Congo river. It’s transformed into a moving village with makeshift protection against the elements. It’s a multi-day journey that reminded me of the desert crossing migrants in Tenere.

Whilst they’re journeying, the director cuts between their present reality on their journey and shots of the group performing on the stage. The present documents their hope for change and their disabilities as we see it, whilst the shots of them performing on stage shows their story as they tell it. Their stage play appears self-deriding and built for a popular audience, but intertwining it in the documentary empowers their story. Simply including their experiences, as they tell it, validates them. They’re heard by more people thanks to this film. And in the context of their journey to the capital, including their story as they tell it emboldens their storytelling before they face their ultimate test – convincing the politicians and public in the capital.

Head to our AFI Fest Hub for more reviews and short films from AFI Fest 2020.