"Fight Like a Girl," directed by Matthew Leutwyler, had its premiere at the Canal Olympia in Kigali, Rwanda on September 20. The film tells the story of Safi, a young Congolese woman from Beni, portrayed by South African actress Ama Qamata, who is widely known for her role in Netflix's "Blood & Water." After finding herself forced to work in an illegal mineral mine, Safi breaks free from her captors and rises as an aspiring boxer in Goma. The film's narrative draws inspiration from the real-life experiences of Clarck Ntambwe, who takes on the role of Aisha, another boxer featured in the plot.
I had the opportunity to attend the premiere after receiving an invitation. Even with the heavy rain that evening, the venue was almost at capacity, a testament to the film's anticipation. While I had heard about the movie during its filming, especially since parts of it were shot in Rwanda, I came to the screening with an open mind. I had no prior knowledge of the storyline and wasn't sure what to expect, but attending screenings is always a joy, as the professionalisation of the industry unfolds right before our eyes.
A significant highlight of the film's production was the involvement of Clarisse Umutoniwase as the Production Manager for KG28MEDIA. From the production team's website, I learned that Clarisse Umutoniwase's entry into the film industry was a result of her collaboration with Matthew Leutwyler, the director of "Fight Like a Girl," to launch Lavana restaurant in Kimihurura. In her role for the film, Clarisse scouted locations and coordinated various shoots, notably those at the Congolese Boxing Championships in Kinshasa and in North Kivu. Innocent Munyeshuri served as the Assistant Director, a role he also held in "Neptune Frost" (2021) and "Our Lady of the Nile" (2019). Towards the conclusion of the movie, I noticed Regis Hirwa, with whom I have worked for years, standing among the team. Known for his cinematography and sensibility, it was a great source of pride to see him contributing to such a substantial project. Additionally, Sissi Ngamije contributed her talent as the film's costume designer. Among the cast, there were familiar Rwandan faces that many recognised, including Aline Amike, Kennedy Mazimpaka, Arthur Nkusi, and Malaika Uwamahoro. It was nice to see actors that we know in a movie of this calibre, highlighting how convincing they can be as actors. It's a testament to the abundant talent we have in this Rwanda of ours.
My favourite part of the movie was its unprecedented focus on women's boxing in the DRC. Though based on real-life events, it was refreshing to see a film spotlight such a unique and underrepresented subject. The portrayal of women boxers in the DRC provided a fresh perspective and highlighted the strength, especially in the actress, Clarck Ntambwe, on whom the story is based. Every punch she landed on the punching bag had my seat neighbours and me in the cinema flinching; her power and charisma were so vividly portrayed on the screen. With a striking depiction of the championship's peak moments in the expansive arena, highlighted by commentators, eager fans, cheering, and the raw beauty of the sport, the film created a self-contained world in which audiences felt truly immersed.
Another favourite part of the movie was the cinematography, with its framing, lighting, and composition of each shot being carefully crafted to bring out the main points of every scene and to smoothly convey the emotions and tones tied with a soundtrack that perfectly complemented the visuals. Despite never having been to Goma, I took pleasure in seeing the beautiful depiction of the region, featuring Lake Kivu and the majestic Virunga chain, a shared treasure of Eastern DRC and Western Rwanda, in the film. Presenting these natural wonders made the film more truthful and layered, offering, in my view, important context for the story.
While the film was undoubtedly engaging, I can't help but think that added nuances and context might have deepened the viewer's connection to the story. Since there is no language I can engage with as comfortably as French and English, I'm unsure if I'm the best person to comment, but nonetheless, the language in the movie seemed a bit off to me. I was confused when the movie started; it began in Swahili, which is expected for a film set in Eastern DRC, but then continued in English. Safi, the main protagonist, gets lost in the jungle as she escapes and is found and asked, “French?”, to which she replies no. Then she responds in English, stating that she is from Beni, where English is not spoken.
The decision to use English in "Fight Like a Girl," especially set in the context of Goma, brings to mind the debates and questions that have been previously raised by other films such as Slumdog Millionaire (2008), The Last King of Scotland (2006) and Black Hawk Down (2001). These films, dating back roughly 20 years, had already captured the challenges of using English in portraying regions where it's less prevalent. The use of English, while understandable from an economic standpoint, can lessen the emotional depth and resonance of scenes, potentially giving a more fictionalised feel to the film. It can also unintentionally reinforce the stereotype of English as the 'universal' language, subtly projecting a Western perspective on narratives from non-English speaking backgrounds.
In my view, the film's Western-centric viewpoint is further emphasised by its narrative choices, just as the potential for depth and dimension went untapped in the exploration of the backstories of the secondary characters like Marcella and Leila. Rather than offering a multi-faceted view of these characters, the movie heavily emphasises their violent pasts, using Leila's unique dialogue to unveil her history as a rape victim and her hopes for raising her son to treat women with respect. Given that the film had already portrayed rape a couple of times, it didn't further the plot in any meaningful way.
I sensed that the film intentionally avoided explicit visuals, as reflected in its shooting style and scene execution. Tied to this, the film aimed to infuse some light-heartedness by introducing a character with a romantic interest in Safi, a touch that brought smiles to us all, serving to balance the hardships depicted in the storyline. Nevertheless, I have reservations about whether this approach was sufficient to address the gravity of the themes explored. My greatest concern is that this portrayal, focused largely on traumatic experiences, risks perpetuating a simplistic and potentially exploitative narrative, neglecting the fuller spectrum of individuals' lives and experiences, and, at worst, reducing trauma to mere spectatorship.
Reflecting on the broader implications and potential of "Fight Like a Girl," I believe that the film marks a significant step in broadening the scope of stories portrayed in cinema. While I think there are aspects that warrant reflection and discussion, I feel that the film’s contribution to highlighting unexplored narratives and its potential to inspire dialogue and understanding should not be understated. I find the blend of compelling storytelling, authentic representation, and ethical reflection makes "Fight Like a Girl" a significant addition to contemporary cinema, sparking hope for a future where diverse stories are embraced and celebrated in their entirety. I was particularly drawn to the film’s focus on women's boxing in the DRC, which I see as a refreshing deviation from mainstream cinema, spotlighting a unique and underrepresented subject. The inclusion of local talents and the collaboration with individuals familiar with the region's context adds a layer of authenticity, which, in my opinion, showcases the abundant talent present in the DRC and in Rwanda. Moreover, I think the film's success in drawing a significant audience is a testament to its appeal and the public's interest in such narratives. I view this reception as a positive sign for the future of the film industry, indicating a move towards more inclusive and varied cinematic experiences.
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