From Arusha to Arusha
From Arusha to Arusha focuses on the Rwandan tragedy in order to examine the functioning of the international justice system. It examines both the activities of the International Criminal Tribunal for Rwanda (ICTR), which is prosecuting those responsible for the genocide, as well as those of the gacaca courts, the people’s tribunals, which are working towards justice through reconciliation. By juxtaposing archival audiovisual footage of an international court enacting justice behind closed doors, with images and testimony gathered in the field, the film presents conflicting points of view and invites the Rwandan people to re-appropriate their own history. Christophe Gargot …
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From Arusha to Arusha focuses on the Rwandan tragedy in order to examine the functioning of the international justice system. It examines both the activities of the International Criminal Tribunal for Rwanda (ICTR), which is prosecuting those responsible for the genocide, as well as those of the gacaca courts, the people’s tribunals, which are working towards justice through reconciliation.
By juxtaposing archival audiovisual footage of an international court enacting justice behind closed doors, with images and testimony gathered in the field, the film presents conflicting points of view and invites the Rwandan people to re-appropriate their own history.
Christophe Gargot has his roots in the rich documentary tradition of such filmmakers as Raymond Depardon, people who are interested in focussing on the rituals of large institutions. This film examines the issue of universal moral values in action while at the same time questioning our relationship with the images we take in and our responsibilities as world citizens.
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participationJean de Dieu BucyibarutaLaurien NtezimanaMarie Goretti Uwaliboye
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writerChristophe Gargot
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directorChristophe Gargot
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editorial advisorThierry Cruvellier
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cameraSamuel Dravet
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assistant cameraJohan Legraie
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sound recordingFrédéric Salles
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picture editingAnne Lacour
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assistant editorClémentine March
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sound editingJean-Marc Schick
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mixingJean-Marc Schick
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digital gradingDimitri Darul
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translationBernadette BallandÉliane HabimanaEve JudelsonMonique MoujawamariaJoanne Perkins
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production managerChristelle Treut
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technical assistantCarole Le Page
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post-production coordinatorDamien CombierStéphanie Herminie
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production administratorCabinet Jean-Pierre Quemoun
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production assistantDady de Maximo Mwicira-Mitali
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assistant directorEugène Rwatsi
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subtitlingDavid Combes Dhenaux
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post-production directorFrançois Bertrand
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technical managerYanis Lerochreuil
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post-production assistantNicolas MarcosMagali Vidal
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technical support - editingDanielle RaymondAmélie Bolduc
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marketing managerFrançois Jacques
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marketing manager - assistanceSolen Labrie Trépanier
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administratorJohanne Dubuc
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production coordinatorNathalie Cloutier
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administrative teamDominique BrunetLise Lévesque
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technical coordinatorRichard Cliche
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associate producerMaryse Chapdelaine
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producerChristophe GougeonAntoine SegoviaYves BisaillonChristian Medawar
Warnings: Visuals of mummified skeletons, topic of genocide
Why does the filmmaker include the history of Rwanda at the beginning of the film? What impacts may colonialism have had on the conflict and genocide? How important is it to be specific about the language used to describe genocide, from an ethical or legal standpoint? How does the filmmaker build emotion to mimic the escalation of conflict in Rwanda? What techniques are used to convey certain emotions in the audience? Explain the juxtaposition of the courtroom, prison and gacaca tribunal footage. What do you think the filmmaker’s intent was in going back and forth between perspectives? What is the difference between guilt and responsibility? Does either tribunal establish a clear distinction between them? How do the subjects of the film grapple with their own feelings of guilt or responsibility?