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Of Gérard Depardieu, Timor and reconciliation
Inspiration: Gérard Depardieu as Martin Guerre
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Inspiration: Gérard Depardieu as Martin Guerre.
The filmmakers behind Beatriz's War chose an unexpected framework for exploring the war in Timor Leste ' a true story that was retold in Daniel Vigne's 1982 film The Return of Martin Guerre.
Based on a court case from 16th century in France, Vigne's film tells the story of Arnaud du Tilh, a drifter who enters a village and claims to be Martin Guerre, a resident who has long since disappeared.
Arnaud (portrayed by Gérard Depardieu) ends up living with Martin's wife, Bertrande, and his children, until villagers discover he's an impersonator, put him on trial and execute him.
The implied message of the filmmakers is clear: People need reconciliation, not more violence.
The French classic is transposed to post-referendum Timor in Beatriz's War: Beatriz learns that the man claiming to be Tomas, her long-lost husband, is an impostor ' and worse, a former member of a pro-Indonesian militia that worked for the Indonesian Military.
A historical note on the militias: in 1996 ' when the world's eyes turned to Timor after Ramos Horta and Bishop Bello won the Nobel Peace Prize ' the Indonesian Military started recruiting local residents to divert attention from ongoing atrocities committed on its behalf.
The militias were behind the post-Independence referendum arson campaign, which prompted more than 200,000 people, including some who favored integration with the invaders, to cross the land border into East Nusa Tenggara, Indonesia, where they have since lived as refugees.
The message of Beatriz's War is the same as Martin Guerre's ' reconciliation and reintegration ' although the Timorese film avoids executing its impostor.
'We decided to use this narrative as a structure for the film because it allowed us to draw out many themes relevant to Timor. The returned soldier and the difficulties they had integrating back into communities, was one important theme,' Luigi Acquisto, one of the film's directors, said.
Hafiz Rancajale, an activist from Forum Lenteng and a member of the Jakarta Arts Council, questioned the film's presentation of history. Speaking after a screening in the ruangrupa arts space in Jakarta, Hafiz said that 'Beatriz exoticizes Timorese landscape and overexposes what it perceives as Timorese culture ' and it becomes all the more problematic when the film ends up resembling a sinetron [local soap opera], giving too much space for a love story at the expense of the larger political context.'
Maleve Guerra, a former Timorese guerrilla and clandestine activist, echoed Hafiz, saying that the film neglected that the Kraras massacre radicalized Timorese women, driving many to take up arms and that despite the rape, no women lived with Indonesian officers as depicted by Beatriz's War.
According to Maleve, misrepresentation of the facts ' for whatever reason ' posed a risk, as media and documentary cinema played a key role in the Timorese struggle.
'During the occupation, the Timorese would trade their lives for information, and to some extent it continues until today. I have fears that many will accept such misrepresentation as truth.'
Nevertheless, he welcomed the film. 'There are flaws, but its political message is pertinent.
