It’s not everyday that we come across a movie that truly validates the experiences and struggles of women. What we are accustomed to, in reality, is misrepresentation: uninspired impersonations, distracting wardrobe choices, and monotonous subservient-woman positions. Occasionally, certain films attempt to reshape the dominant narrative by presenting their own perspective on female behaviour, but in doing so, they inadvertently confine women to another restrictive stereotype. They fail to recognize that no one lens fits all and once again put women in a box, albeit a different one. For this reason, we interviewed five Rwandan women and requested them to share movies that they believe had a strong female resonance, tailored to their own personal experiences. This compilation also offers insights into films that have influenced these women's perception of the past and enhanced their understanding of the present. Pamela Mudakikwa, 35: The Diplomat (2023) Before watching The Diplomat, a TV series about a career diplomat juggling her tumultuous marriage to a political star with her high-profile new job as ambassador to the United Kingdom, Mudakikwa had grown weary of how women were typically portrayed in movies: as demeaned assistants and background players. Seldom were women influential decision-makers, the ones leading negotiations or driving important deals forward. Even more uncommon was a female power player in a domain like diplomacy taking on the role of the heroine. The protagonist isn't in my line of work, but I watched the movie with an open mind and got so many lessons from it: self-esteem, hard work, emotional intelligence, determination, and resilience, Mudakikwa said. The character was played by Keri Rusell of “Star Wars.” She was thrilled that she had seen The Diplomat shortly before giving birth. The movie perfectly captured everything that occupied her thoughts during that period. I was contemplating the future of my career. Being a consultant at the time, I faced the temptation of using my impending motherhood as an excuse to lower my professional aspirations,” she continued. I needed a powerful catalyst to maintain my drive and dedication, and The Diplomat did that for me. Ruth Nyirahagenimana, 22: Mona Lisa Smile (2003) It was the scene in Mona Lisa Smile where Katherine (Julia Roberts) takes her students on a field trip to an art gallery in Boston that did it for Nyirahagenimana. During their visit, Katherine encourages the students to delve deeper into the artwork and explore its underlying significance. This prompts a spirited discussion among the students, leading them to broaden their viewpoints and question the societal norms and expectations imposed on women. Both in Katherine's fictional life during the 1950s in New England and in Nyirahagenimana's real life in Rwanda, the impacts of a historically devout and conservative society was palpable. Like Katherine's students, we often face traditional roles or expectations that may limit our choices, Nyirahagenimana said. These choices haven't just been marginalised; they have been consistently disregarded and even erased. Reflecting on certain scenes and quotes from the film allowed her to make sense of her own journey. “I could relate to that on some level,” she went on, “It reinforced my belief that I am capable of being both a dedicated mother and wife while actively pursuing my dreams. I don’t need to sacrifice any aspect of my life to achieve fulfilment.” The heroine’s quote, I have a brain, and a uterus, and I use both. stuck. As a result, Nyirahagenimana intends to launch a club for teenage girls with the goal of empowering and inspiring them to seek education. Clarisse Mukandizeye, 42: Hidden Figures (2016) The 2016 movie, “Hidden Figures” developed a cult following among younger audiences, notably black career women. While the setting is different, Mukandizeye said she believed that the movie stirred her as a woman living in Rwanda because it “beautifully highlights the resilience, intelligence, and determination of these women in overcoming societal barriers and making significant contributions to the field of science.” Hidden Figures features notable characters such as Katherine Johnson (Taraji P. Henson), Dorothy Vaughan (Octavia Spencer), and Mary Jackson (Janelle Monáe), who faced gender inequality and discrimination, but didn’t relent in the pursuit of their dreams. “One scene from the movie stands out wherein Katherine asserts herself and demands inclusion in significant meetings and decision-making processes. It reminded me of moments in my own life where I had to assert myself and fight for equal opportunities,” said Mukandizeye. For her, watching the movie evoked a combination of admiration, pride, and a renewed sense of motivation to pursue her own aspirations. “I embraced the lesson of not allowing societal expectations to restrict my potential. The outcome was a profound sense of personal fulfilment, along with the realisation that I have the ability to make a meaningful impact in my chosen field,” she added. Daniella Mutamuliza, 24: Bombshell (2019) and Little Women (2019) “During a recent job application, the hiring manager asked about my dancing skills, which confused me as I didn't see the relevance. When I questioned the connection, the manager mentioned something about having long weekends,” Mutamuliza shared. In a particular scene from the movie Bombshell, journalist Kayla Pospisil, played by Margot Robbie, seizes an opportunity to speak with Roger, played by John Lithgow, and request a spotlight at the network. However, Roger shockingly asks Kayla to raise her already short dress so that he can visually assess her legs. Mutamuliza is aware that sexual harassment at work disproportionately affects women, who frequently have to ward off employers and clients with hyperactive hands, or women who are simply attempting to survive the day unharmed in a field that is predominately male. “I personally went through a period where I stopped wearing dresses entirely to avoid receiving unwarranted attention. I've finally accepted that, regardless of how I look, I can’t evade harassment,” she said. Another movie Mutamuliza says impacted her is the movie adaption of Louisa May Alcott’s Little Women. There's a scene in the film where Jo shaves her head in solidarity with Beth, who has cancer. “This scene reminded me of a personal experience when a close friend noticed my struggles and, during a church gathering, came to my side, asking if she could accompany me forward for prayers,” Mutamuliza said. She added, “This act of solidarity will always be a cherished memory. We all have Jo’s in our lives, who stand by us during difficult moments.” Marayika Ashimwe, 23: Frida (2002) Ashimwe, a disabled woman living in Kigali, was 17 years old when she first saw the movie Frida. Even at a young age, she identified with the film's protagonist and found inspiration in the courageous way Frida Kahlo, a surrealist artist, embraced her identity as a queer woman with a disability. Ashimwe admired how Frida used art as a means to redefine herself and bring herself to life especially in a world where she was frequently marginalised and mocked for who she was and what she stood for. “I live in a very misogynistic and ableist society, and Frida’s story deeply resonated with me and gave an unspoken lesson in resilience but not in a way that romanticised pain,” she said. “While some people see Frida's life as a tragedy, a circular narrative of a woman who cannot escape her fate. I saw her as a fearless queer, disabled woman pursuing art, pleasure, and freedom.” A quote from the movie, I hope the exit is joyful, and I hope never to return, that encapsulates Frida’s enduring hope for joy despite her health getting worse, stood out to Ashimwe because according to her, “hope is a powerful thing.” In the opening scene, where Frida is hurt in a trolley accident, symbolic imagery of a bluebird flying from her hand and a gold leaf dropping on her cast show how strong Frida was in conquering pain via her art and creativity. “As someone living with physical disabilities, there are days when existing is too painful, and art and imagination are what sustain me,”Ashimwe said somberly. She was inspired to keep a journal titled Marayika re-writing herself back to life. where she writes prose-like letters to herself, and it has been a “deeply grounding and therapeutic journey.” To Ashimwe, “Frida” struck a chord that still reverberates. To external observers, these women’s accounts may not appear significant, but for them as women living in Rwanda who constantly strive for women’s improved status in society — these movies hold immense revolutionary value. As they witness numerous women overcoming one challenge after another and emerging triumphant, they are left with a sense of hope and, in a peculiar manner, a feeling of fulfilment.
