This hour long documentary takes you through the naval blockade on Bougainville Island to meet the revolutionaries fighting for Bougainville independence. They’ve survived against all odds. First, their water supplies and land was destroyed by the world’s largest open copper mine built by a subsidiary of Rio Tinto. They were forced onto reservations. But they chose to rise up and forced the huge mining conglomerate to abandon the region. In response they earned the wrath of Papua New Guinea who depended on the mine for a large percentage of their GDP. After being attacked by the PNG army, the eco revolutionaries were starved from contact with the rest of the world for 7 years thanks to a naval siege operated by Papua New Guinea and Australia. When that didn’t kill off the revolution, PNG sent in international mercenaries to finish them off. But they were forced to retreat and the Bougainville Revolutionary Army survived and the island is now well on it’s way to independence after winning a referendum for independence at the end of 2019. It’s an incredible story.
The revolution becomes even more amazing when you see the resourcefulness of the indigenous people of Bougainville. Cut off from PNG power, they created their own hydro electric generators from scraps from the mine. And without fuel for the vehicles left on the island, they created fuel from coconut oil. On top of this, they use the land to feed the community and treat them for illnesses and diseases. This is a true Eco-revolution.
Nigerian Independence Day (October 1st) is fast approaching. A police officer is sent into unknown territory to investigate a string of murders. Can he solve them before Independence Day? For an African thriller which explores colonialism, religion, and tribalism, you can’t go wrong with this film. Plus it’s available on Netflix!
Why Watch October 1?
For a perfect gateway into Nigerian film (Nollywood)
It covers a lot – exploring tribalism, western imperialism, unification, racism, religion, colonialism, and more
To hear a range of languages – English, Hausa, Yoruba, and Igbo
It’s easy to watch – it feels much more like the easy-going South African Umbangothan the art-house Timbuktu
The Breakdown
October 1 starts under a red moon shining red light over the forest. A man chases a screaming woman through the forest until he catches her, rapes her, and leaves her dead on the forest floor.
It’s 1960. Police Officer Dan Waziri is sent to investigate the murders by a trio of English imperialists to ‘clean up’ Nigeria before it’s Independence Day on October 1st. As a Hausa man from the North, Dan Waziri is out of place in Akote. As an outsider, he faces many challenges in solving the case.
The characters provide the main talking point of the film. The trio of white men from the British colonial military are undeniably racist. Prince Aderopo of Akote is questionably for the continuation of British rule. Then there is Miss Tawa, a teacher who is preparing her classes for Nigerian independence. Among this group of characters, Dan is a mediator. He is neither outwardly for or against independence and shows no religious or political bias. He offers us an unbiased look at the political situation of Nigeria in 1960.
Conclusion
October 1 is brave to explore a range of controversial themes at the time of Nigerian independence. Whilst it does it bullishly, you’ll learn about the lasting impact that colonialism has had on Nigeria.
As mentioned in the opening scenes of Beatriz’s War, East Timor was a Portuguese colony until 1975 when the Revolutionary Front for an Independent East Timor (Fretilin) declared independence. However, their independence was short lived, as Indonesian forces invaded 9 days later to take control of the entire island. Indonesia then occupied East Timor for 24 years until East Timor finally regained its independence in 1999.
Beatriz’s War takes place over the 24 years of the Indonesian occupation. It depicts the violence of the Indonesian occupation as well as the fragmented East Timorese resistance happening around Beatriz.
Strong (or Stubborn) Independent Women
Beatriz is both strong and independent. She’s married off in the opening scenes as a young girl but due to the gentle nature of her young husband, she’s always in control. Like her father, the leader of the community, we’re always led to believe that she’s more likely to take a stand and join the fight against the Indonesians than her husband.
However, her strength seems to turn to stubbornness in the second half of the film when her gentle husband disappears in a massacre. Her community mourns the losses of the men and children killed by Indonesian forces, but she stubbornly refuses to believe that her husband is truly dead. She also never accepts her new reality, trying to maintain her old way of life by abiding by traditions. Her stubborn denial is a sign of the trauma caused by the violent occupation.
Fitting a French Legal Case into The History of East Timor
Martin Guerre was a French peasant from the 16th century who was at the center of a famous case of imposture. Several years after he left his wife and child, a man claiming to be him appeared and tricked his wife and son for three years before he was eventually found out. His story has been dramatized many times for film and TV over the years and is also inserted into the second half of Beatriz’s War after the departure of the Indonesian occupiers to emphasize the length of the occupation.
Primarily, the adaptation gives Beatriz’s War a lot of melodrama. It sets of a battle of emotions between Beatriz and her community as to the origin of a man who arrives in their community 20 years later claiming to be Beatriz’s husband. If you can get past the melodrama, the inclusion of the Martin Guerre story also highlights the impact of the long Indonesian occupation. Whilst the occupation physically destroyed a generation, the length of the occupation also helped to mentally blur a generation. With no photos, Beatriz’s image of her husband has faded over 20 years to a point where she can no longer recognize him. The long, traumatic occupation enabled the Martin Guerre story to happen.
What to Watch Next
First They Killed My Father feels like the closest film to Beatriz’s War. Both films follow a girl who sees their country occupied by an opposing force. Both films show the occupation and the genocides that go with it. However, whilst First they Killed My Father focuses on a girl’s perspective, Beatriz’s War takes place over 25 years.
For more films about the atrocities committed by Indonesians, check out Joshua Oppenheimer’s documentaries: The Look of Silence and The Act of Killing. Both documentaries look at the free-living leaders of Indonesian death squad that were responsible for killing hundreds of thousands of innocent Indonesians. The Look of Silence even gets the perpetrators to act out how they did it, with the killers slowly coming to realize the grotesque crimes they’ve committed.
Or if you’re looking for more stories from South East Asia featuring kids in coming-of-age stories, check out The Rocket from Laos and Golden Kingdomfrom Myanmar.
In colonial Zanzibar, a young revolutionary and runaway wife from different parts of the city meet. As their romance grows, so does their revolutionary fervor in this adaptation of Shafi Adam Shafi’s novel.
It’s rare that you see Tanzanian films on the international film festival circuit, especially those that are directed by Tanzanians. The industry in the East African country is dominated by Swahiliwood’s low budget, rapidly made ‘Bongo films,’ which, like the majority of African cinema industries are largely ignored by Western film festivals. So it’s nice to see a Tanzanian representative on the international film festival circuit in Tug of War, even if it isn’t your typical Tanzanian film. Unlike ‘Bongo films,’ Tug of War‘s production quality matches the criteria for Western film festivals, with beautiful cinematography inspired by Wong Kar Wai, good production design, and great acting. It perfectly fits the Western expectations of ‘good’ international cinema.
The warmly patient pace of Tug of War defines the films tone, characters, and relationships. It’s created through the slow motion shots and orange tinted film that the director, Amil Shivji, uses throughout the film, just as Wong Kar Wai did in In the Mood for Love. The slow motion highlights some of the defining moments in the character’s relationships. This is clearest in the shot of Denge and Yasmin’s first glance of each other. Stretching out this fleeting glance captures the longing in that brief look, symbolically starting the embers that starts their romance. These slow motion moments also signify their enlightenment. One shot shows Yasmin pushing against the flow of a moving crowd. At regular speed, the shot might be forgettable, but in slow motion it becomes symbolic of her going against the grain of her family’s expectations and grabbing her own independence. Lastly the slow motion also emphasizes the link between their budding romance and new-found independence with the anti-colonial revolution that stands against both. This is captured in the slow motion scene of red pamphlets falling between them like wedding confetti (as in the image above).
For a beautifully shot, anti-colonial Tanzanian film inspired by Wong Kar Wai’s In the Mood for Love, watch Tug of War. It features sumptuously warm cinematography, a slow burning romance, and a fight for independence. This interracial, extra-marital love is anti-colonial. Viva la revolución.
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