Belgian-Rwandan filmmaker Jonas d’Adesky has premiered his latest feature, “Kwibuka, Remember,” at the Red Sea Film Festival, a poignant drama exploring themes of identity and the lasting effects of Rwanda’s 1994 genocide. The film centers on Lia, a Belgian-Rwandan professional basketball player who returns to Rwanda to join the national team, where she confronts a family history shrouded in mystery.
D’Adesky drew from his personal experiences of navigating dual cultures. He expressed a desire to address the complexities of belonging to two places, stating, “I wanted to talk about this feeling of living in one place but being linked to a second country, this desire people have to reconnect, to know, and understand.”
Challenging Stereotypes and Exploring Identity
A key aspect of this film is d’Adesky’s intention to portray Rwanda beyond the prevalent narratives of genocide. “Rwanda often has this image of genocide that is very prevalent,” he noted. “I wanted to make a film that takes place today and shows not only that history but the country in general, its energy, its vitality, and to be outside the clichés.”
In her role as Lia, French-Rwandan actress Sonia Rolland faced the challenge of embodying a character deeply disconnected from her roots. “I had to build everything,” she explained. Although she was born in Rwanda and frequently visits, Lia’s early departure under traumatic circumstances left her with many unanswered questions. The film’s exploration of memory and identity resonates with Rolland, who found herself navigating the emotional complexities of her character against the backdrop of real memorial sites.
Filming took place in various locations, including memorial sites and underground crypts, which house victims’ remains. Rolland described this experience as “confusing,” noting the blurred lines between her identity as an actress and her personal connection to Rwanda. “It created very strong, very real scenes,” she remarked.
Reflecting on Past and Present
D’Adesky emphasizes that “Kwibuka, Remember” addresses how the past and present interact. He stated, “The particularity of genocide is precisely the fact that its effects last a very, very long time. It remains present somewhere, which impacts the present today.” The film illustrates how the repercussions of historical trauma ripple across generations.
Both d’Adesky and Rolland highlighted the narrative’s reflection of Rwanda’s broader journey of rebuilding since the genocide. D’Adesky asserted, “It must be rebuilt by the Rwandans and not by someone who’s going to come from the outside,” drawing parallels between Lia’s personal growth and the nation’s recovery.
Rolland observed that many audiences underestimate the scale of Rwanda’s transformation, stating, “People can’t imagine how much it took strength and vitality from the people in Rwanda. Through the smaller story of Lia, we already understand the great story of Rwanda.”
The film’s title, “Kwibuka,” meaning remembrance in Kinyarwanda, came late in the editing process but felt integral to the narrative. D’Adesky noted that the term is ubiquitous during the annual commemoration, finding poetic significance in the concept of memory and the character’s journey.
Additionally, around 80% of the crew for “Kwibuka, Remember” was sourced from Rwanda, marking a significant achievement for the local production industry. D’Adesky pointed out, “It is the biggest Rwandan film shot in the country with a Rwandan team,” and emphasized that building the project within Rwanda was always part of his vision.
Rolland sees this production as indicative of a cultural shift in Rwanda, stating, “It shows we’re able to make films that reflect the evolution of the country.” She noted a growing commitment to supporting cultural initiatives, asserting that Rwanda is now recognized as a viable and safe location for film production.
As “Kwibuka, Remember” continues to resonate with audiences, d’Adesky and Rolland hope it will inspire deeper conversations about identity, memory, and the enduring impact of history on both personal and national levels.
