Hotel Ruanda

A disgrace to the rich Western world and a demonstration of the inefficiency of UNPROFOR troops, materialized on the screen, and after a long time finally a film that is "about something". A raw, terrorizing atmosphere, a superb Don Cheadle and overall a film that can bring the more sensitive to tears. At the end, the filmmakers play too much on emotions, but in films of this type it is forgiven. PS: I'm slowly becoming allergic to French politics. Their active trade relations with Saddam's Iraq, or their supply of arms to the genocidal Rwandan Hutus (see the clearly audible idea from the film), say a lot. (15.06.2005)

“I think if people see this footage they'll say, "Oh my God that's horrible!" ...and then go on eating their dinners. That’s right, I couldn’t put it better than in this quote from the movie. An outstanding picture which, despite the topic, leaves no lasting impression. Which is surprising at the very least. (21.04.2022)

From an emotional perspective, it is an almost perfect film that is based on real events that took place during the infamous genocide in 1993. Excellent screenplay, quality casting, and clever direction. The result is a film that has been successful worldwide and has managed to convey the cruel events in Central Africa much better than the media. One of the best films of recent years. Overall impression: 100%. However, it is not a film that is capable of conveying a good mood, it is a distressing testimony about a country that is deformed by its poverty and ethnic hatred. (13.06.2006)

One thing needs to be done right at the beginning, to bow down to the creators for taking on a seemingly uninteresting topic for America and making a film about it. However, director Terry George used the brutal fist of the Rwandan genocide only as a backdrop for the story of one man who accomplished the almost impossible. If I had to compare Paul Rusesabagina to someone, it would definitely be Oskar Schindler. Through diplomatic talks and the almighty power of money, they managed to do one and the same thing. In the film, Rusesabagina is portrayed as a man who does not want to become a hero, but the price of human life is incalculable for him and his actions must therefore soon be understood by every viewer. Moreover, his character and humanity are perfectly portrayed thanks to the magnificent performance of Don Cheadle. Indeed, if it weren't for Jamie Foxx playing the blind Ray, Cheadle would have been assured of an Oscar. And while on the topic of actors, it would be a sin not to mention the excellent performances of Nick Nolte and Joaquin Phoenix, who handled their small but important roles very well, especially Phoenix's full beard, which is quite distracting. However, just like Hotel Rwanda has many merits, it also has many shortcomings, with the biggest one being the unevenness of the storytelling. The director tries to combine "action" scenes, where the militia murders the unarmed, with emotional and heavy decision-making scenes in a very subtle way, which results in a diametrical thereto. At times, I felt like I was watching two movies at the same time, which also strongly deviated from the original theme of the storytelling. But neither the "action" nor the impression is the point. It's about the value of a human life and how much strength one is willing to sacrifice for it. This is what Hotel Rwanda tells a great story about. It’s been four years since we got Black Hawk Down by Ridley Scott, and here we get another very raw and harsh "postcard" from Africa. (09.07.2005)

A film from the same family as Joffé’s The Killing Fields. Tense, emotional, direct and at the same time not extortive in any way, and a drama with excellent drastic proprieties. We find the same elements on the motif level - for example, we observe the first contact with the real brutality of the genocide in the Tutsi population through the mediating area of the television screen. The feeling of ubiquitous brutality and hopelessness is only intensified by the limited space of the hotel and the occasional predatory intrusions of the surrounding horrors into it. Terry George gives his film rhythm via an alternation of silent conversational positions and incredibly tense sequences that are full of despair and existential worries abraded to the bone. The central character of Don Cheadle, who goes through development from a worried manager whose job is everything to him, to a man who will do anything to maintain his existence and that of his loved ones, is secondary, but it is a significant civilizing element of the wracking passages of one of the worst genocides of the 20th century. Through its passivity, the Western world feels no less hyenic and awkward than in Joffé’s twenty-year-old film. History repeats terrible circles. (03.10.2007)