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Downstream to Kinshasa
  • France, Congo Kinshasa (RDC), Belgique | 2020 | 88 minutes
  • Un film de Dieudo Hamadi

En 2000, la ville de Kisangani, en RDC, fut le théâtre d’affrontements entre deux groupes rebelles congolais alliés à l’Ouganda et au Rwanda. Depuis, l'"Association des Victimes de la Guerre des Six Jours" lutte pour la reconnaissance de ce conflit et demande réparation pour les préjudices subis. Lassés par des années de lutte infructueuse, les membres de l’Association ont aujourd’hui décidé de prendre leur destin en main : après un long voyage sur le fleuve Congo, ils iront faire entendre leurs voix à Kinshasa, au cœur des institutions du pays.

Dieudo Hamadi returns to TIFF with his latest portrait of his native Congo, honouring survivors of his country’s Six-Day War in 2000. Since making his feature documentary debut in 2013, Dieudo Hamadi has produced an unparalleled body of work that captures glimpses of contemporary Congolese life. In examining elections (Atalaku, 2013), schools (National Diploma, which played TIFF in 2014), violence against women and children (Mama Colonel, 2017), and political mobilization (Kinshasa Makambo, 2018), Hamadi has told individual stories that speak to collective experiences and histories. With Downstream to Kinshasa, Hamadi perfects this approach as he follows a group of victims of his country’s Six-Day War in 2000, who are seeking reparations from the government. In June 2000, Kisangani became a battleground. In this northeastern city on the Congo River, Rwandan and Ugandan forces clashed in a conflict that was part of the bloody Second Congo War. Though a devastating conflict — so much so that it’s sometimes called the African World War — 20 years later survivors are still fighting for compensation and recognition of the atrocities they endured in this siege. Here, Hamadi’s focus isn’t on past geopolitics but rather on the present and very personal: a group of Kisanganians who were maimed by the heavy shelling and gunfire. Through musical theatre, the victims have reclaimed their voices. But having never had official acknowledgement or financial compensation for their pain, they decide to journey down the Congo River to the capital in a bid to finally make their stories heard.
(Cameron Bailey)

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