Based on true events during the Rwandan genocide in 1994, an exhausted Catholic priest (John Hurt) and a young idealistic English teacher (Hugh Dancy) find themselves caught in a literal and spiritual crisis. They have to choose whether to stay with the thousands of Tutsis about to be massacred or to flee for safety.A powerfully moving rendering of the horrific genocide that occurred in Rwanda in 1994,
Beyond the Gates is the story of the Ecole Technique Officielle (ETO), a school run by Europeans and protected by the forces of the United Nations. Overseen by a spiritual, world-weary Catholic priest Father Christopher (John Hurt) and taught by an idealistic, naive young teacher Joe (Hugh Dancy), students and refugees alike perceive the ETO to be a safe haven of learning and love, where backgrounds and circumstances matter little and where humanitarian efforts are positively aff! ecting the lives of the Rwandan people. When tensions between the Hutu and Tsutsi people of Rwanda escalate, father Christopher, teacher Joe, and Capitaine Delon (Dominique Horwitz), commander of the United Nation forces based at the ETO, find themselves thrust into the role of protecting a huge mass of Tsutsi refugees from certain massacre at the hands of the incensed Hutu population. Constrained by orders from the U.N. to "monitor" rather than "enforce" the peace in Rwanda, U.N. military forces are powerless to act against the mounting violence outside the school's gates and it quickly becomes evident to Father Christopher and Joe that they and the Rwandans depending on their protection are in extreme danger. In the end, both men are forced to choose between their humanitarian resolve and the preservation of their very lives. A microcosm of the extensive genocide that was carried out throughout Rwanda from April through June in 1994, the story of the ETO highlights to! the larger world the ineffective and arguably destructive rol! e that t he Western World played in the Rwandan genocide. The film's immense power stems from stellar performances by John Hurt, Hugh Dancy, and Claire-Hope Ashitey (Marie) as well as exceptional writing by David Wolstencroft and impassioned story telling by director Michael Caton-Jones. Filming on location in Rwanda adds an added layer of authenticity to the film as does the inclusion of Rwandan survivors in various on- and off-screen roles. Bonus features include a 38-minute "making of" feature that's rich with perspective and history thanks to extensive interview footage of producers, actors, and crew members personally affected by the genocide in Rwanda and two separate full-length film commentaries; one by director Michael Caton-Jones and another featuring writer David Wolstencroft and producer David Belton. Rated R for strong violence, disturbing images, and language. This film is also available in an unrated version that's edited for clean language.
--Tami Horiuchi! Based on true events during the Rwandan genocide in 1994, an exhausted Catholic priest (John Hurt) and a young idealistic English teacher (Hugh Dancy) find themselves caught in a literal and spiritual crisis. They have to choose whether to stay with the thousands of Tutsis about to be massacred or to flee for safety.This is an unrated version of the original film edited for clean language. A powerfully moving rendering of the horrific genocide that occurred in Rwanda in 1994,
Beyond the Gates is the story of the Ecole Technique Officielle (ETO), a school run by Europeans and protected by the forces of the United Nations. Overseen by a spiritual, world-weary Catholic priest Father Christopher (John Hurt) and taught by an idealistic, naive young teacher Joe (Hugh Dancy), students and refugees alike perceive the ETO to be a safe haven of learning and love, where backgrounds and circumstances matter little and where humanitarian efforts are positively affecting the liv! es of the Rwandan people. When tensions between the Hutu and ! Tsutsi p eople of Rwanda escalate, father Christopher, teacher Joe, and Capitaine Delon (Dominique Horwitz), commander of the United Nation forces based at the ETO, find themselves thrust into the role of protecting a huge mass of Tsutsi refugees from certain massacre at the hands of the incensed Hutu population. Constrained by orders from the U.N. to "monitor" rather than "enforce" the peace in Rwanda, U.N. military forces are powerless to act against the mounting violence outside the school's gates and it quickly becomes evident to Father Christopher and Joe that they and the Rwandans depending on their protection are in extreme danger. In the end, both men are forced to choose between their humanitarian resolve and the preservation of their very lives. A microcosm of the extensive genocide that was carried out throughout Rwanda from April through June in 1994, the story of the ETO highlights to the larger world the ineffective and arguably destructive role that the Western Worl! d played in the Rwandan genocide. The film's immense power stems from stellar performances by John Hurt, Hugh Dancy, and Claire-Hope Ashitey (Marie) as well as exceptional writing by David Wolstencroft and impassioned story telling by director Michael Caton-Jones. Filming on location in Rwanda adds an added layer of authenticity to the film as does the inclusion of Rwandan survivors in various on- and off-screen roles. Bonus features include a 38-minute "making of" feature that's rich with perspective and history thanks to extensive interview footage of producers, actors, and crew members personally affected by the genocide in Rwanda and two separate full-length film commentaries; one by director Michael Caton-Jones and another featuring writer David Wolstencroft and producer David Belton. Contains strong violence and disturbing images.
--Tami Horiuchi"Beyond the Gates" is a feature length documentary film experience about the Waodani Indians and the missionary ! men and women who have given their lives to reach them. This p! owerful emotional journey begins with the Waodani describing their way of life before the missionaries visited them in 1956. Narrated by the son of one of the missionaries and each of the wives of the men who died, the audience takes a nostalgic trip back in time to see how the men and women came to meet up with each other in Ecuador. An inspiring story of forgiveness and love. While the primary lesson of
Beyond the Gates of Splendor is about the power of Christian love, this extraordinary documentary transcends its missionary message with a universal tale of cultural exchange, murder, and the ultimate act of forgiveness. After establishing that the Waodani Indians in the Amazon basin of Ecuador had endured several generations of violent homicide among tribal neighbors, the film's central story begins to unfold: As American missionaries discover the Waodani in the mid-1950s, their Christian outreach goes smoothly until 1956, when lies and misunderstandings lead to the spear-k! illing of five of the missionary men whose wives and children--including narrator Steve Saint (whose father was among those killed)--responded to tragedy by living peacefully among the Waodani over the decades that followed. Through home-movie footage, photographs, and eyewitness accounts by American and Waodani alike, this incredible-but-true story of love and understanding unfolds with considerable power, urging the viewer to consider the meaning of this remarkable example of unified humanity. Is the missionary impulse a pure and beneficial one? Are the Waodani best left alone and ignorant of the wide world beyond their village? With deep tragedy, rich humor, and an overwhelming sense of compassion, writer/director Jim Hanon ponders these and other questions, hampered only by an overbearing score (by Ronald Owen) that's lushly beautiful at best, but too often maudlin, manipulative, and shamelessly heavy-handed. It's likely that Christian viewers will be most deeply affect! ed by the film's thematic parallels to the lessons of Christ, ! but anyo ne with an ounce of compassion will be similarly moved and astonished. Not surprisingly, Hanon later dramatized the factual events of
Beyond the Gates of Splendor in his 2006 feature film
The End of the Spear.
--Jeff ShannonHenry Louis Gates Jr. travels the length and breadth of the United States to take the temperature of black America at the start of the new century. Gates visits the East Coast, the deep South, inner-city Chicago and Hollywood to explore the rich and diverse landscape, social as well as geographic.Taking a page from each of the anthologies that Metallica, Megadeth, At The Gates, and Behemoth have written, Wretched has ...see site for more info.One of America’s greatest performers, Bobby Darin lived a rags-to-riches life. He worked his way from shady nightclubs to his dream destination, The Copacabana, where he wowed crowds with "Splish Splash," "Mack the Knife" and other hits. He was a marvel at singing, songwriting and performing ! â€" stealing the hearts of fans everywhere despite the suffering in his own hear.The chameleon-like actor Kevin Spacey is best known for playing pyschopaths (in
Seven and
The Usual Suspects) and capturing a creepy mid-life crisis in
American Beauty--but surprisingly, playing crooner Bobby Darin, Spacey does some snappy dancing and top-notch singing.
Beyond the Sea puts Darin's life through a bit of a kaleidoscope: While singing Darin's most memorable hit, "Mack the Knife," Darin suddenly stops the show, revealing that he's not at a nightclub, but in the middle of a shooting a scene about his life as a nightclub performer. Why has he stopped? Because he's just seen himself as a young boy, peering from behind a curtain. Such self-conscious narrative twists recur throughout the movie, turning Darin's fight for fame and respect into a love story between his adult and childhood selves. Sandra Dee (Kate Bosworth,
Win a Date with Tad Hamilton!), ! a hugely popular movie star in her own right, was supposedly t! he love of Darin's life, but she never holds his attention as does his childhood self (played by newcomer William Ullrich). It's a striking metaphor for the narcissism that drives such success-hungry entertainers. But despite (or perhaps because of) the complexity of the telling, the events never grip your emotions; though Darin's life featured hits galore and a few soap opera twists, his story lacks the seductive charm of his nighclub show. Also featuring Bob Hoskins, John Goodman, Brenda Blethyn, and Greta Scacchi.
--Bret Fetzer
