Two nights ago I watched a documentary reportage on LCP (French C-SPAN) on the Lord’s Resistance Army and its psychopath cult leader, Joseph Kony, which focused specifically on the accounts of soldier-slave children who had been abducted into the LRA, managed to escape, and regain their villages. The documentary was filmed in the southern Central African Republic, where the LRA has been operating (plus the DRC) since it was driven out of Uganda several years ago. A remote region of one of the most remote countries in the world (and with one of the most deliquescent states on a continent replete with such states). One can’t get much more off the beaten track than the CAR. One almost felt the dread of the film crew moving about the area with the LRA lurking in the bush—and despite the escort of CAR soldiers—, not to mention that of the villagers and the children. Unspeakable what happened to the latter at the hands of the LRA, and of the atrocities visited upon the former. Small wonder that Kony is at the top of the list of war criminals actively sought by the ICC in The Hague. US Army Special Forces, despite years of effort, have not been able to get their hands on him. Dismaying.
The subject of child soldiers is a heart-wrenching one. The children interviewed in the LCP reportage—aged 12 to 16—were nice, innocent kids when they were abducted into the LRA—when they were as young as 8 or 9—, where, by their own accounts, they killed innumerable villagers and participated in massacres. They had no choice. How does one deal with children who have been through this? Most of them seemed normal while interviewed but they’ve pretty clearly been psychologically damaged to varying degrees. The child soldier phenomenon has, of course, been present in many conflicts in the world—e.g. Khmer Rouge, Sri Lankan LTTE, Colombian FARC—but it’s mainly an African one. As it happens, I saw a feature-length film on the phenomenon a couple of months ago, ‘War Witch’ (French title: ‘Rebelle’), by Canadian director Kim Nguyen, and that is one of the nominees for best foreign film in the upcoming Oscars. The film is set in an unnamed African country, that I determined could only be the DRC, and, sure enough, that’s where it was shot (in the area around Kinshasa). It opens with the assault on a riverside village by an armed gang, who pillage, massacre, and abduct children, including the 12-year old girl and protagonist, Komona—played by the nonprofessional Rachel Mwanza, who won the best actress award at the 2012 Berlinale—, who is forced to murder her parents. If there were ever evil people in the world, the adult leaders of these armed gangs—who call themselves rebels, or revolutionaries, or whatever—are it. The film follows Komona—who is declared by the gang’s leader to be endowed with supernatural powers—as a child soldier, her budding romantic relationship with a veteran (age 14), an albino boy named Magician, and ultimately what happens to them. It’s a disturbing but powerful film, and important to see, as it deals with a tragically real phenomenon, of killer children but who didn’t choose to be that way. I’ve seen two other films in recent years on child soldiers in Africa—’Johnny Mad Dog‘ (shot in Liberia) and ‘Ezra‘ (set in Sierra Leone)—and would rate this one the best, or at least the one to see (if one wishes to see just one film on the subject). Reviews in the Hollywood press—which are positive—are here, here, and here. French reviews are here.
While I’m at it, I should mention another film I saw late last fall, ‘Tabu’, by Portuguese director-auteur Miguel Gomes, that was partly set in Africa (though which has nothing to do with child soldiers). The pic is divided into two parts. The first part is in contemporary Lisbon and focuses on an elderly woman into her dotage and who has a long-buried secret from her past. The second part is a flashback to the 1960s, of the estate in an unnamed Portuguese colony in Africa—the segment was shot in Mozambique—in which she lived and the revelation of the secret, which involved romance. I found the first part of the film confusing and not particularly interesting, to the point where I thought the pic was going to be yet another insufferable film d’auteur that critics love but causes walk outs in the audience. But it really came together during the second half in Africa. One’s attention was riveted to the recounting of the buried memory—and which was narrated, as this part of the film was silent (and, as with the first part, was in black-and-white). The second part made the film. And my sentiments on this were echoed by a friend, as well as by several critics. As Variety critic Jay Weissberg put it, the film “starts off merely perplexing and winds up insinuating its charms.” Critics on both sides of the Atlantic have, not surprisingly, been gushing over the pic, e.g. here, here, here and here, and French reviews here. Weissberg again: “‘Tabu’ is nearly uncategorizable and strictly for patient arthouse crowds, yet those who wait are likely to come away still puzzled but deeply moved.” I agree. Highly recommended.