The Uncondemned
In 1997, a young group of mismatched lawyers and activists came together from around the world to prosecute for the first time in history rape as an international crime of war. This is the story of their fight, and of the incredible women who came forward amid a wave of witness assassinations to testify.
Interview with Writer/Director Michele Mitchell
Watch The Uncondemned on Prime Video and Vudu
Congratulations! Why did you make your film?
I was stuck on the 405 freeway in LA in 2012 when I heard on the radio a man who was running for US Senate in Missouri. He was saying that a woman couldn't get pregnant from rape because she had a way to shut down her body. I was really happy to be stuck in traffic, because I started yelling at the radio, cursing and saying, "The Serbs didn't get that memo!" My next thought was: "That's it. I'm going to tell a story that takes 'sex' out of 'sex crimes' and puts rape where it belongs: an act of power, torture, humiliation.' But I also wanted to tell a story of what to do about it. That's how I decided to tell the story of the first time rape was prosecuted as an international crime of war.
Imagine I’m a member of the audience. Why should I watch this film?
Because it's the story of everyday heroism. In fact, there's not one singular hero in this story. It's about a group of people who change the world, just by doing their job and by speaking up. It's possible for things to go horribly wrong, like what happened in 1994, and then just three years later, humanity can get it really, really right.
How do personal and universal themes work in your film?
Each character has an arc, but all of those resolve with redemption at some level. The universal themes of good versus evil, courage versus despair, and prevalence of perseverance are all present. For me, even as the storyteller, the three reveals at the end of Act Three have such a satisfying pay-off. It's what makes the end of the film triumphant.
How have the script and film evolved over the course of their development and production?
I spent four months writing the script before we ever began editing. I knew that we had an incredible opportunity at narrative nonfiction. Not many stories can sustain that tactic, but this one had it all. However, in order to set up a documentary that would not have lower-thirds, voice-over narrative, or transition cards, we had to conduct interviews that were shaped specifically to sustain that.
The preparation was insane. I spent time on the phone every day doing pre-interviews for over a year with all the principle characters before we sat down to interview them. And those interviews took over 5 hours each. Because I have a background in both journalism and fiction writing, I told my co-director Nick Louvel that I was going to write a treatment. I brought him a 137-page document, and he looked at me and said, "A treatment is supposed to be 10 pages." I told him, "I'll be right back." Between the treatment and the script, it was a long, frustrating process.
What type of feedback have you received so far?
We received universal acclaim from the major US critics--my favorite review was from Kenneth Turan of the Los Angeles Times. I was in a rental car on my way to an appointment when it came out, and a friend read it to me over the phone. I had to pull over because I started crying so hard. Nick had died a year earlier in a car accident at the age of 34, and for him not to be there to hear the reaction of arguably the most important film critic in the US was so, so painful. But the audience reaction has been tremendous. It's been rewarding to have them take it as inspirational, and for those who are survivors of rape themselves, it's been wonderful to hear them say that they feel the film gives them agency.
Has the feedback surprised or challenged your point of view?
The reaction of survivors took me aback. I know that Nick would have had the same reaction as me: so glad that we managed to make a film that spoke to them on such a personal level.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
The goal has always been to reach out to the widest audience possible, and We Are Moving Stories is a fantastic site to do exactly that.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
We are always looking for ways to get into new markets. We're all set with the US, and now we are beginning our international run. We'd love to get the film out there via distributors, festivals, etc. And since we crowd-funded this film--we have over 7,000 donors--we are always looking for ways to involve a larger community in discussion. We also hope that organizations that have been in the sexual violence space are able to use THE UNCONDEMNED to help amplify their messages.
What type of impact and/or reception would you like this film to have?
Change the perspective of sexual violence in conflict, full stop. It's not being taken as seriously as every other crime of war, and that must change.
What’s a key question that will help spark a debate or begin a conversation about this film?
What do you think "rape" is?
Would you like to add anything else?
A quick message to those aspiring filmmakers out there: Failure is not an option.
What are the key creatives developing or working on now?
Let's just say I've been stuck on a few more freeways lately, and I'm mad all over again. ;-)
Interview: February 2017
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We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series and music video. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
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THE UNCONDEMNED
In 1997, a young group of mismatched lawyers and activists came together from around the world to prosecute for the first time in history rape as an international crime of war. This is the story of their fight, and of the incredible women who came forward amid a wave of witness assassinations to testify.
Length: 86 minutes
Director: Michele Mitchell and Nick Louvel
Producer: Michele Mitchell
Writer: Michele Mitchell
About the writer, director and producer: Michele is the award-winning filmmaker behind "Haiti: Where Did the Money Go?" and a former investigative correspondent for PBS. She began her broadcast career on CNN and is the author of three books. Nick Louvel was the award-winning editor on "Haiti: Where did the Money Go?" and directed his first narrative "Domino One" while attending Harvard University. He died in a car accident on September 24, 2015.
Key cast: Pierre Prosper, Sara Darehshori, Patricia Sellers, Binaifer Norwojee, Lisa Pruitt, Godelieve Mukasarasi, Victoire Mukambanda, Serafina Mukakinani, Cecile Mukarugwiza
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): International buyers, distributors, film festival directors.
Funders: Crowdfunded.
Made in association with: Film at 11
Where can I see it in the next month?
Cambodia International Film Festival (March 4), Human Rights Film Festival Geneva (March 18)