2006, Belgium/France
Adventure, Drama, War
In a land where a new baby does not allow rejoicing but rather represents the burden of another mouth to feed, every resource is vital. A source of water is worth the sacrifices needed to arrive at its location, and in Marion Hänsel’s film, a Djibouti family leads a trek to this life blood.
While caring for a family of five, parents Rahne and Mouna have no choice but to leave their home and community in order to find a well for survival. Locations are merely rumors and maps have vague X’s on undefined topography. Everyone must look out for themselves, so strangers may not always be trusted for advice.
Shortly after beginning their quest, they discover a watering hole. Guarded by a militia and rationed for bribes, their safety is questionable. In our nation of ubiquitous water bottles and giant swimming pools, it is hard to fathom begging for water at gunpoint. What has happened to this land from which humankind sprang? Was it ever hospitable, or was there good reason as to why our species migrated from its harsh landscape?
Not only is this valuable commodity worth risking life and limb, but one must also traverse a dangerous war-torn country seeded with mines and trigger-happy rebels. Everyone wants what they can’t have and will destroy humanity in the pursuit of their objectives. Dying men along the road must be left behind because it is impossible to help others when in a dire state.
Aside from the dangers of men, if they don’t kill each other the environment will. Endless stretches of sand and salt lakes lay before the travelers, providing no relief or target in sight. The vast desert is cinematically beautiful but deadly for a dehydrated family. It is almost impossible to conceive of such desperation that the only solution is to walk for days in inhospitable lands, toward an unknown and uncertain destination.
Hänsel presents a beautiful but agonizing story of a family attempting the ultimate journey for survival. She does not need to overdramatize the situation as the circumstances are accurate. The family begins as healthy and educated, caring deeply for one another and providing their loved ones joy and comfort. The situation looses its anonymity as concern for this loving family grows. As a plane speeds overhead the father sadly remarks, “I don’t think they know we exist.”
This statement emphasizes Hänsel’s obvious intentions: she wishes to educate the public of this serious problem. An ignorant member of the audience with which I screened the film actually questioned the director as to whether this was indeed a problem for millions. Needless to say, the director was a bit appalled by the query. Her film does not present answers, but rather it encourages others to discover their own ways to help. And in a land where we have so much, at what point do we stop making excuses to help our fellow members of humankind? Would we not hope someone would do the same for ourselves?