Rwandan cinema stepped onto the world’s biggest stage in spectacular fashion on Saturday, May 23, when filmmaker Marie-Clémentine Dusabejambo made history at the 79th Cannes Film Festival, winning the prestigious Caméra d'Or for her debut feature Ben’Imana. The landmark victory, coupled with the film’s FIPRESCI Prize in the Un Certain Regard section—has not only elevated Dusabejambo onto the global cinema map, but also signalled a defining breakthrough for Rwanda’s fast-rising film industry. For many within the industry, the win represents far more than personal success. It is being viewed as proof that Rwandan stories, filmmakers and productions can compete at the highest level of global cinema. Veteran actor and filmmaker Jones Kennedy Mazimpaka described the moment as a major confidence boost for the country’s creative sector. “These awards give confidence not only to the people behind the film, but also to Rwandan cinema in general,” Mazimpaka told The New Times. “Even if the industry is still growing, seeing a Rwandan film win at Cannes is something very positive. It shows that Rwandans can compete on the global stage.” Mazimpaka believes the achievement sends a wider message about Rwanda’s creative potential and visibility internationally. “Seeing Rwandans win awards at that level gives a message that says: now do more, rise further,” he said. “This has made Rwanda much bigger than its physical size on the map. In the minds of the world, it becomes huge.” The filmmaker also pointed to Dusabejambo’s journey as an example for emerging creatives in Rwanda’s film industry. “She is someone who committed herself to cinema from a young age. Her journey is a lesson for many filmmakers — start small, trust the process, and grow through experience,” he said. Mazimpaka, who previously worked with Dusabejambo during her early filmmaking years, added: “Clémentine is a candle light.” The film’s Cannes success has also intensified conversations around Rwanda’s future presence at the Academy Awards. With Rwanda having established its first Oscars Selection Committee in 2025, Ben’Imana is already being viewed as a strong contender for a future Best International Feature Film submission. Mazimpaka, who sits on the committee, said Cannes recognition significantly strengthens the film’s international profile. “A film that has been to Cannes already has a pathway to the Oscars,” he noted. “A film that has won awards and earned recognition from critics already has strong visibility internationally.” While he cautioned that the Oscars process remains competitive, involving eligibility requirements and international campaigning, he said the possibility was realistic. “Getting to the Oscars for Clémentine is not something that feels far away,” he said. At the centre of the historic moment is Ben’Imana, a drama set in Rwanda in 2012 that explores reconciliation, trauma and forgiveness through the story of Vénéranda, a survivor of the 1994 Genocide against the Tutsi deeply involved in the Gacaca justice process. The film premiered in the Un Certain Regard section on May 19 before emerging as one of the section’s standout productions. It stars Clémentine Uwimana Nyirinkindi alongside Isabelle Kabano, Kesia Kelly Nishimwe, Leocadie Uwabeza, Antoinette Uwamahoro, and Aimé Valens Tuyisenge. Produced through a collaboration between Rwanda’s Ejo Cine Ltd, Gabon’s Princesse M Prod, France’s Les Films du Bilboquet, and Norway’s Duo Film, the project reflects the increasingly international nature of Rwanda’s filmmaking ecosystem. Speaking after receiving the Caméra d'Or award, Dusabejambo dedicated the honour to Rwandan women. “I made this film because I wanted to pay tribute to the women of my country, to these mothers who, through error and the unspeakable, found the strength to remain standing, with dignity,” she said. “And more than that, who found in their hearts the capacity to give, to forgive and to move forward—even imperfectly, even painfully.” She also praised the collaborative spirit that continues to shape Rwanda’s film community. “Making a first film is jumping into the void. But when you are surrounded by such a strong filmmaking family, you do not fall—you rise,” she said. For Rwanda’s film industry, the Cannes outcome has already become more than a festival victory. It is a signal that the country’s cinema has entered a new chapter—one in which Rwandan filmmakers are no longer simply participating in global conversations, but beginning to shape them.
