Paul Rusesabagina, a member of the Hutu majority tribe in Rwanda, is married to a member of the Tutsi, the minority tribe that colonial powers installed as the nation’s rulers in an interference tactic that was common during the 19th century. By 1994, the year in which Terry George sets his film Hotel Rwanda, the Hutu majority was engaged in a genocidal conflict.
Road movies provide screenwriters with a built-in structure. It allows them, in the immortal words of the Queen of Hearts, to “begin at the beginning, go on until you reach the end, and then stop!” But what happens when an ending isn’t really the end? Or when the “real” end sends us down a different road altogether?
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