
1994. In Rwanda, the classification of the native population into Hutus and Tutsis, arbitrarily done by the colonial Belgians, is now ingrained within Rwandan mentality despite the Rwandan independence. Despite the Belgians having placed the Tutsis in a higher position during the Belgian rule, they have placed the majority Hutus in power after independence. Paul Rusesabagina, a Hutu married to a Tutsi, Tatiana Rusesabagina, is the House Manager of the Hotel Des Milles Colline... (Full plot summary below)
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1994. In Rwanda, the classification of the native population into Hutus and Tutsis, arbitrarily done by the colonial Belgians, is now ingrained within Rwandan mentality despite the Rwandan independence. Despite the Belgians having placed the Tutsis in a higher position during the Belgian rule, they have placed the majority Hutus in power after independence. Paul Rusesabagina, a Hutu married to a Tutsi, Tatiana Rusesabagina, is the House Manager of the Hotel Des Milles Collines in Kigali. The Milles Collines, owned by Sabena (the national airline of Belgium), is a four-star hotel catering primarily to wealthy white westerners. Paul, who knows how to work the system to run the hotel effectively for its guests and for Sabena, is proud that most of the Caucasians who he meets in this professional capacity treat him with respect. After a specific incident, the relative calm between the Tutsi guerrillas and government-backed Hutu militia takes a turn. Paul's thought that the native population as a whole who are not directly involved in the conflict will be protected as the UN peacekeeping forces and thus the world is watching doesn't happen as the western world largely evacuates from Rwanda and abandons the natives. Such begins what will become a genocide of the Tutsi population. Paul, who is able to get his immediate family to the hotel which is still largely seen as a place of sanctuary, will have to use the considerable skills he has used to run the hotel as well as he has instead to keep himself, his family and any others taking refuge at the hotel alive, whether they be Hutu or Tutsi. Meanwhile, Colonel Oliver, a Canadian heading the UN peacekeeping forces, and Pat Archer with the Red Cross do what they can to assist Paul and to get people to safety first to the hotel then out of the country, while field journalists, like photographer Jack Daglish, try to bring the genocide back into the global media to have the world once again care about what is going on.
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| Spirituality and PracticeFrederic and Mary Ann BrussatBest film of the year: an ethically rich story of a heroic African who responds to the deep dimensions of violence in a chaotic world by widening the circle of his compassion. |
| ReelTalk Movie ReviewsDonald J. LevitMoves us to deep emotion and, naming names but not belaboring culprits, to great shame. |
| Bangor Daily News (Maine)Christopher SmithDon Cheadle is terrific in a movie that sometimes rises to the level of his performance, but which too often plays it safe when capturing the horrors of the Tutsi-Hutu war. |
| Cinema SightWesley LovellDirector Terry George takes his screenplay, which he co-wrote with Keir Pearson, and turns it into a south African "Schindler's List". |
| The Film YapNick RogersLike "Schindler's List," "Hotel Rwanda" shows how the madness of genocide and war converted one man's context of wealth and success from capitalism to humanitarianism. Don Cheadle honors Paul Rusesabagina by tapping his brave face and internal rage. |
| The SpectatorMark SteynRemarkably, the director Terry George and his co-writer Keir Pearson have pulled it off, rooting the big picture of anonymous murder in one small precise close-up. |
| Chicago Sun-TimesRoger EbertDeep movie emotions for me usually come not when the characters are sad, but when they are good. You will see what I mean. |
| USA TodayClaudia PuigEmerges as an African version of "Schindler's List." |
| Aisle SeatMike McGranaghanHotel Rwanda is filled with urgency; there's not a single second of the film that doesn't feel intensely real. |
| Kalamazoo GazetteJames SanfordThere's not a single false note or insincere moment in either Cheadle's or Okonedo's splendid, Oscar-nominated performances... |