Cinematography adds great value to a movie's story. Aside from aesthetic purposes, the geographical location is very much part of the story as it conveys various meanings to situational settings described in the movie. Snow may imply a person's need for warmth and comforting relationships. A desert may represent thirst for truth and justice. A serene beach could mean peace and contentment for the protagonists in the story. Thus, location is not simply a silent aspect of a tale, but rather, an active component in telling the Why's and What's of a story.
Such is the case for the movie, Hotel Rwanda, which is set in city of Kigali in Rwanda where the genocidal mass slaughter occurred in 1994. The movie did not only focus on geographical location to stress the cultural and political conditions that time, but also used behavioral depictions of how the people lived during the ongoing political strife.
Geography-wise, it was set on the hilly parts of Kigali where the rich typically lived in their bungalow houses, while at the lower parts of the mountains and valleys are the houses of the poorer Rwandans. Always hot and humid, the popular and warring tribes are the Hutus that comprise about 80% of the population and the Tutsis, make up most of the remaining population. The location is a very strong depiction of how they lived in Kigali. With wide grasslands, the major source of livelihood was agricultural production and cattle rearing, which was appropriate to the kind of weather experienced in the area (About Rwanda n.d.). Evidently, in the movie, it seems that trade and commerce are yet to bloom considering that they do not have a reliable transport system in place and that most of the people still walk to get anywhere. In addition, because of restrictions in connecting with overseas markets either to import or export goods, economic progress is expected to be slower in Rwanda.
Culturally, a striking behavior that manifests all throughout the film is the use of bribery as a means to get what one needs or maintain the social status. As Paul Rusesabagina's (the protagonist who helped save thousands of lives during the Rwandan genocide) way of taking care of his family as well as the business of the hotel, he pays money or give gifts to people he needs something from. This is still very much practiced until now especially in third-world countries where life can really be difficult. Another visible representation of their culture is the use of bolos and knives as weaponry against war. Although it was not used in place of guns, the natives can be seen wielding bolos in some of the attack scenes.
The natives also have a penchant for using baskets, ceramics, woodcarvings, and colorful fabric. This is hugely noticeable in the decorations used in the hotel as well as the houses of the natives, which were all adorned with native handicrafts. In another scene where Rusesabagina was in the van with another hotel employee who was a Tutsi, he instructed the employee to just smile and keep moving despite the people's (presumed to be Hutus) knowledge that he (the employee) is a Tutsi. Rusesabagina simply waved a cloth similar to what the people were wearing and holding and they just let them move in the crowd.
Despite the practice of bribery and being accused a traitor, Rusesabagina is still a firm believer of goodness when he helped people in the hotel for safety regardless of the tribe they belong.
Years after the genocide, Rwanda continues to rise above the turmoil and rebuild. The country has correctly used the investments of other nations in the country as evidenced in the improved infrastructure, social services, emergence of business, and enhanced health services. Politically, the scenario is no longer as rigid as in the past although there are still some incidences of political discord. Nevertheless, the good thing is that the country is now politically stable with people more aware of their rights (Ruxin 2010).
Works Cited
About Rwanda. N. d. Maps of the World. Web. 30 November 2012.
Hotel Rwanda. Dir. Terry George. Perf. Don Cheadle, Sophie Okonedo, Joaquin Phoenix, Nick Nolte, and Jean Reno. United Artists. 2004. Film.
Ruxin, Josh. "16 Years After the Genocide, Rwanda Continues Forward." 2010. The New York Times. Web. 30 November 2012. < http://kristof.blogs.nytimes.com/2010/04/06/16-years-after-the-genocide-rwanda-continues-forward/>.
