Viva Brighton Issue #69 November 2018

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INTERVIEW .................................... The Faces We Lost Documentary filmmaker Dr Piotr Cieplak “It’s not just a photo. It’s almost like it’s actually him. As if he’d never gone.” A young Rwandan woman is looking at her only photograph of her father, who was among the victims of her country’s genocide in 1994 in which nearly one million people died. It’s one of many touching moments in a documentary by University of Sussex filmmaker and lecturer Dr Piotr Cieplak, whose work focuses on the interaction between memory and the still and moving image. Shortlisted for the Best Research Film of the Year in the Arts and Humanities Research Council’s (AHRC) <strong>2018</strong> Research in Film Awards, The Faces We Lost incorporates interviews with survivors, and those who are helping to keep alive the memories of the dead with a vast archive of photographs. One of the interviewees describes running into the Gatagara forest to escape Hutu killers, and witnessing acts of extreme barbarism against her own children. The killers ransacked her home, but left her photos scattered in the dirt. She salvaged them, and when she wants to remember her lost loved ones, she looks at the photographs “to release emotion”. At the Kigali Genocide Memorial, in the capital of Rwanda, between 6,000 and 8,000 photographs of those who were killed have been stored in an archive, at the site of ten mass graves of 250,000 people. The senior archivist explains on camera how images more than numbers invoke emotion. “You look at a picture and you ask yourself why a person could kill a little kid, or an old man, or an older woman… or kill anyone?” The film is the culmination of a ten-year research project for Piotr and involved working with a trauma therapist in Rwanda to identify and approach participants. “It’s often the case that the words of survivors in films about Rwanda are used only to illustrate a wider point – sort of auxiliary – usually made by an academic or journalist or some other kind of expert,” he says. “I wanted to tell a story that was more personal for the survivors and victims of a genocide that has been mediated, especially internationally, through images of mutilated bodies and anonymous refugees. “I didn’t want this to be a history lesson,” he adds. “There are a good many films out there that do that. History tends to homogenize events, make them manageable and digestible. Actual experiences and memories are more subjective, messier. This is more what the film is about.” Piotr, whose films and essays have won awards and been screened at international film festivals, including Africa-in-motion Film Festival and the Montecatini International Short Film Festival, felt it was important to move away from the more usual representation of anonymous African suffering. “Many Rwandans commemorate their dead, privately and institutionally, with images showing life rather than death: a passport photo or a group portrait from a wedding, for example. I wanted to show Rwandans as active users of images, rather than only their subjects.” Jacqui Bealing Piotr will find out on 9th <strong>November</strong> at a ceremony at BAFTA if his film has won an AHRC Award. Watch the trailer at vimeo.com/227386149 ....95....
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CONTENTS ..........................
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THIS MONTH’S COVER ARTIST .......
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BITS AND BOGS .....................
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INTERVIEW .........................
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FILM ..............................
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Viva Brighton Issue #69 November 2018

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