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From Arusha to Arusha

2008 1 h 54 min
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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 …

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From Arusha to Arusha

Details

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.

  • participation
    Jean de Dieu Bucyibaruta
    Laurien Ntezimana
    Marie Goretti Uwaliboye
  • writer
    Christophe Gargot
  • director
    Christophe Gargot
  • editorial advisor
    Thierry Cruvellier
  • camera
    Samuel Dravet
  • assistant camera
    Johan Legraie
  • sound recording
    Frédéric Salles
  • picture editing
    Anne Lacour
  • assistant editor
    Clémentine March
  • sound editing
    Jean-Marc Schick
  • mixing
    Jean-Marc Schick
  • digital grading
    Dimitri Darul
  • translation
    Bernadette Balland
    Éliane Habimana
    Eve Judelson
    Monique Moujawamaria
    Joanne Perkins
  • production manager
    Christelle Treut
  • technical assistant
    Carole Le Page
  • post-production coordinator
    Damien Combier
    Stéphanie Herminie
  • production administrator
    Cabinet Jean-Pierre Quemoun
  • production assistant
    Dady de Maximo Mwicira-Mitali
  • assistant director
    Eugène Rwatsi
  • subtitling
    David Combes Dhenaux
  • post-production director
    François Bertrand
  • technical manager
    Yanis Lerochreuil
  • post-production assistant
    Nicolas Marcos
    Magali Vidal
  • technical support - editing
    Danielle Raymond
    Amélie Bolduc
  • marketing manager
    François Jacques
  • marketing manager - assistance
    Solen Labrie Trépanier
  • administrator
    Johanne Dubuc
  • production coordinator
    Nathalie Cloutier
  • administrative team
    Dominique Brunet
    Lise Lévesque
  • technical coordinator
    Richard Cliche
  • associate producer
    Maryse Chapdelaine
  • producer
    Christophe Gougeon
    Antoine Segovia
    Yves Bisaillon
    Christian Medawar

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Education

Ages 16 to 18
School subjects

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?