I Married My Family's Killer

Inkotanyi

2017

For the first time, light is shed on the Inkotanyi politico-military movement that ended the genocide of the Rwandan Tutsi in 1994 and is led by Paul Kagame, currently President of Rwanda.

April Tragedy

2024

The oral writer of the April 3 Uprising and a Rwandan who came to Korea to study face each other, have a conversation, and then go on a trip hand in hand. The two people, from different generations, nationalities, and occupations, have something in common: they are the daughters of massacre survivors.

The Diary of Immaculée

2006

Peter LeDonne and Steve Kalafer chronicle the extraordinary life of Immaculée Ilibagiza, a young African woman who escaped genocide in Rwanda and ultimately found refuge in the United States. Seeking shelter with an Episcopalian minister, Immaculée hid from her attackers inside a bathroom for three long months but stayed centered through prayer and faith.

Coexist

Coexist tells the emotional stories of women who survived the Rwandan genocide in 1994. They continue to cope with the loss of their families as the killers who created this trauma return from jail back to the villages where they once lived. Faced with these perpetrators on a daily basis, the victims must decide whether they can forgive them or not. Their decisions are unfathomable to many, and speak to a humanity that has survived the worst violence imaginable.

Shake Hands with the Devil: The Journey of Roméo Dallaire

2005

The story of Canadian Lt. Gen. Roméo Dallaire and his controversial command of the United Nations mission to Rwanda during the 1994 genocide. The documentary was inspired by the book Shake Hands with the Devil: The Failure of Humanity in Rwanda which was published in 2003.

Iseta / The Story Behind The Road Block

During April 1994, on quiet road in Kigali a group of neighbors in Rwanda were filmed. This was the opening days of the Rwandan Genocide, and even though almost one million people were slaughtered, remarkably there is only one known segment of footage showing any actual killing. This movie is about the extraordinary journey of that evidence as the original photographer returns to Rwanda, revisiting the people and events that he by chance caught on film. As the footage returns to the community, friends and family relive the tragic events as they work with the photographer to identify the victims, and then eventually the killers.

Men in Pink

1999

The aftermath of the Rwandan genocide: A student theatre troupe tours Rwanda with a comedy about the genocide, a gang of killers gets rough justice at the local genocide court, and a prosecutor investigates a priest for the murder of five Tutsi children. Meanwhile, in neighbouring Tanzania, two of the genocide's leaders face the United Nations tribunal in snappy suits, defended by a panoply of French lawyers.

Ghosts of Rwanda

2004

Ghosts of Rwanda marks the 10th anniversary of the Rwandan genocide with a documentary chronicling one of the worst atrocities of the 20th century. In addition to interviews with key government officials and diplomats, this documentary offers eyewitness accounts of the genocide from those who experienced it firsthand. FRONTLINE illustrates the failures that enabled the slaughter of 800,000 people to occur unchallenged by the global community.

Flowers of Rwanda

2008

Rwanda. 14 years after the genocide that took the lives of more than 800,000 people. What situation is the country in now? What feelings reign in the hearts of the victims? Can victims and executioners coexist? What value does education have in a society that has experienced genocide? Can it happen again? Who should act when a genocide is taking place? Do we have any responsibility as individuals?

Der Mörder meiner Mutter - Eugénie will Gerechtigkeit

2001

Rwanda, vers l'apocalypse

2024

In the Shade of the Hills

2024

Amani is 31. When he was an infant, he survived the genocide against Rwanda’s Tutsi population. Three decades later, Amani has set up an organisation in Nyamirambo, one of the more economically impoverished districts of the country’s capital, Kigali. It employs creativity, artistic practice and performance to grapple with poverty and generational trauma – acknowledging that deep-seated ideologies can easily foment prejudice and create an environment that proved so catastrophic in the past.