This was a very difficult film to watch for a variety of reasons. The film was introduced by its co-director Joanna Kos-Krauze who revealed that the film took several years to put together and that both her cinematographer Krzysztof Ptak and her husband and co-director Krzysztof Krauze had died before the film was completed. Since the film’s narrative focused on the ‘post-traumatic stress disorder’ brought on by experience of the Rwandan genocide in 1994 and the chosen aesthetic approach was also driven by a ‘disturbed’ mise en scène and narrative ellipses, it was clearly going to be challenging. I’m ashamed to say that I didn’t quite rise to the challenge and my concentration floundered at some points. Nevertheless, I could see that this was a profoundly moving and hard-hitting account of events over twenty years ago that are still relevant today.
The central character Anna Keller (Jowita Budnik) is a Polish ornithologist studying vultures in Rwanda – the film opens with a blurred image that eventually becomes clear as a group of vultures feeding on the carcase of a cow. Anna has become friendly, even intimate, with a family of middle-class Tutsis who are the victims of Hutu attacks in Kigali, the capital of Rwanda. When the killing begins, Anna flees the country and manages to smuggle out the grown-up daughter of the family, Claudine (Eliane Umuhire). But when they arrive in Poland, both Anna and Claudine are traumatised by their experience and at first they can’t live together and Claudine opts for a hostel as she begins an application for asylum.
Claudine is treated as an asylum seeker but rather unadvisedly sent to work at a fish farm where she witnesses live fish being gutted and their still twitching innards being discarded. This is far too close to the brutality meted out to Tutsis in Rwanda. Eventually she will arrive at Anna’s house and the two will agree a tentative truce before Claudine will argue to return to Rwanda to find members of her extended family (knowing this will affect her claim for refugee status in Poland). The aesthetic of the film includes use of soft focus and compositions which present disturbed images (shot through doorways or other obstacles which obscure the action). The pacing is very slow and I can’t be sure if I actually missed scenes or whether there are deliberate ellipses, so that we don’t know exactly what has been decided at the end of a scene. There have been several fiction films about the Rwanda genocide – all difficult to watch, I think. Birdsong and the squalor and horror of genocide is a powerful juxtaposition and sets up the drama of post traumatic shock. I wish I could have stayed for the Q&A when some questions might have been answered (the film has an open ending) but the curse of the film festival means I had to race off to a venue some distance away, not sure of how long it would take to get there.
Birds Are Singing in Kigali is a very powerful film. As in my first screening of Casting, I wish I’d prepared myself for it. The trailer below probably says much more than I’ve been able to put into this review, simply through the use of well-chosen images and moments in the narrative.