DIENA (2024)
In Central Africa, a young domestic worker waits for God to intervene.
STATUS
Complete
OFFICIAL SELECTION
Bend Film Festival (World Premiere)
Rooftop Films Summer Series (East Coast/New York Premiere)
Petaluma Film Festival
Walla Walla Movie Crush (Winner, Curator’s Choice Award; Nominee, Best Documentary)
Summer Shorts Film Fest
CREW
Director -Jesse Kreitzer
Producer - Gyslaine Uwitonze
Cast - Cloudine Uwimana
Camera, Sound, Edit - Jesse Kreitzer
A NOTE FROM DIENA
My brother and friend, Jesse. Greetings! I am always grateful for your effort to raise awareness about the experiences that young women go through, and the challenges they face, while striving for a better life just as others do. I, too, have gone through many painful trials and managed to overcome them, although I still grapple with some of their effects. Even so, I have resolved not to give up; I wait for the right time when God will enable me to change my life, to do what I love, and stand on my own.
My message to those watching this film: I believe I represent many girls—those I know and those I do not—whose lives have been impacted by the harsh realities of domestic work. They leave home seeking a better life, and end up being deprived of the very wellbeing they hoped to achieve. Some are drawn into unplanned pregnancies and are forced into motherhood before they are ready. Others leave with chronic illness, emotional scars, and deep trauma caused by daily mistreatment and abuse, among many other hardships I cannot list here.
I believe advocacy alone is not enough; concrete action is needed so that their lives are protected, wherever they may be. God bless you, Jesse, for standing with me and for helping bring this film to life.
Muvandimwe, Nshuti yanjye Jesse. Muraho neza! Nshimishwa iteka ni umuhate ugira wo kumenyekanisha ubuzima abana b’ababakobwa banyuramo ,ingaruka bahura nazo mu iyo bari kugerageza amahirwe yo kubaho neza nk’abandi bose muri rusange. Ni Ubwo jyewe nanyuze muri byinshi Kandi nkabasha kubicamo ,ni ubu nkaba nkihanganira zimwe mu ngaruka mpuriramo nazo. Ariko Kandi nafatiyemo imyanzuro yo kwirinda kujarajara, ngategereza igihe cya Nyacyo Imana izanshoboreza guhindura ubuzima,nkakora icyo Nkunze kandi Nigengaho.
Ubutumwa ku bareba iyi film: Jyewe nizera ko mpagarariye abana b’abakobwa benshi abo nzi n’abo ntazi bahura ni imbogamizi Situruka mukazi ko murugo. Nyamara baba bagiye gushaka ubuzima nk’abandi Ariko bakavutswa ni Ubwo Bari bafite.Bamwe bagatwara inda batiteguye bikababyarira kuba ababyeyi imburagihe, abandi bakahakura indwara zidakira, gutotezwa bya buri munsi bibabiramo ihungabana ridashira, ni Ibindi byinshi ntarondora.
Nizera ko ubuvugizi budahagije ahubwo hakenewe icyakorwa kugirango ubuzima bwabo aho bari hose burengendwe. Imana iguhe umugisha Jesse wamfanshije gukora Iyi film.
DIRECTOR’S NOTE
In February 2024, I was invited to lead a three-week multimedia intensive at the Nyundo School of the Arts and Music in Rwanda. I lived in the capital city of Kigali with a multi-generational family. I arrived at night and saw Diena standing in the outdoor kitchen, with her arms folded, cast in silhouette. It was one of the most striking images I’d ever seen, and I couldn’t shake it. Diena was the family’s live-in Umwari, or “house helper”. She was quiet and kept to herself, but each day I got to know her a little better and understand the dynamics between her and her employer.
I am not an activist. I did not set out to make a film about domestic labor. But as I spent time with Diena, it became clear that her story transcended borders, and spoke to something more universal: invisible labor, imbalances of power, and resilience.
All parties, including Diena’s employer, agreed to make the film, and Diena herself retained final cut. To ensure her comfort and agency throughout the process, I worked with two Rwandan producers who served as translators and mediators. Diena was not asked to sign a release form until she viewed the film, and I was prepared to shelve it entirely if she was uncomfortable with any part of it. Diena will also receive any profits the film may generate.
Some films you work really hard for. Others seem to arrive fully-formed without even knowing it. Diena was the latter. It was an unexpected convergence of trust and vulnerability. And in that time, something beautiful was captured. I’m proud of the film, and the way in which it was made, and I’m grateful to Diena for allowing it. Now, in her name, may it help in some small way to advance domestic workers’ rights and protections around the globe.
