Western representation and portrayal of an indigenous narrative: Examining Hotel Rwanda as a paradigm

Stories as delicate and grave as genocide require a meticulous and thoughtful approach, one that seeks to document and raise awareness without reviving the trauma endured by survivors. When addressing such themes through the medium of film, practitioners are tasked with balancing the pursuit of truth and sensitivity, avoiding actions that may retraumatize those connected to the genocide. This challenge becomes even more complex when individuals or institutions not directly or indirectly linked to the genocide or its communities attempt to tell these stories. Such efforts inevitably raise questions about authenticity, cultural understanding, and the potential for contradictions or misrepresentation in the resulting films. The intersection of artistic expression and creative liberties further complicates this process, demanding a careful balance to ensure historical accuracy without unintended distortions. This study examines Hotel Rwanda (2004), directed by Terry George, as a case study to explore the tensions and implications of presenting an indigenous narrative through a Western lens. The film, which depicts the Rwandan genocide, serves as a prism for analyzing how authenticity or disparity arises when a historical event is interpreted and reimagined by filmmakers outside the community it represents. The analysis seeks to determine the accuracy of Hotel Rwanda in portraying the 1994 Rwandan genocide, as claimed by its creators, while interrogating the broader dynamics of storytelling in nonfictional cinema. While film offers the flexibility to tell fictional and nonfictional stories, even films rooted in nonfiction often incorporate fictional elements. These fictional components, however, must not undermine the integrity of the overall narrative or dilute the spirit of the events being portrayed. Observations reveal that while intending to produce nonfictional works, some filmmakers diverge from the actual account due to the pressures of commercialization, artistic interpretation, or cultural biases. Such disparities, which are typically influenced by Western ideologies, risk confusing audiences that watch these films to understand historical events. This study advocates for greater accountability among filmmakers, emphasizing the need of accurately reflecting societal realities rather than changing them to fit external expectations or creative aspirations. By doing so, films can reach their full potential as powerful vehicles for education and commemoration, ensuring that their stories are grounded in truth and respect for those they seek to represent.