Rwanda By Gatore: Film Analysis

genocide their roles and capacity for violence is diminished by the scholars and publics phrase of otherworldly forces. This is done through the use of words such as “evil,” “unimaginable” or even “extraordinary.”
Gatore’s book is saturated with introspection. Niko’s entire section is devolved completely in his own mind with absolutely no dialogue whereas Isaro, whose interludes do contain some dialogue, it is mostly composed of exposition and description of Isaro’s thoughts. Her deep and thought provoking question are rooted in her attempts to understand how she is attempting to move on from her trauma much like victims and survivors of the Rwandan genocide attempt to do as well after the events. She poses a self-reflective question “Why do the different moments in in a given life make sense only after they they’ve been lived? Is life a journey backwards?” (Gatore, 44) We get a sense form the question just how powerful the events of the Rwandan genocide are and how pressing it truly is because Isaro struggles to make sense of the events of her life as it is a consistent and crucial moment of her life and she constantly is stuck
The focus on the eyes of the victim is present here as it has been in many works that memorialize genocide. In a particular scene from Peck’s film after Tutsi or Moderate Hutus were lined up by the Interahamwe to be executed, each person’s face was focused on, their eyes boring into the camera lens at us. Through film it quickly becomes easier to establish connections to the people portrayed. It is slightly harder to do this than through literature, which is not to say that it cannot establish the same connection through words, however it takes about half the time and allows us to visualize the possibility of violence perpetrated by human being, not the monster we imagine in their place. Honoré as a