Guerrilla Grannies
 
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- Reviews
- Citation
- Cataloging
- Transcript
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As a student in the 1960s, Dutch filmmaker Ike Bertels became captivated by an image she saw in a BBC documentary about Mozambique's war for independence: three young members of the Women's Detachment of the Mozambique Liberation Front (FRELIMO) sitting on the grass and cleaning their rifles. 
Almost two decades later, in 1984, she tracked down the three women: Monica, Amelia, and Maria, who were now living through the civil war that followed Mozambique's independence. Monica now served as a member of a Central Committee of the ruling FRELIMO party. Maria was in school and taking care of her five children, and Amelia worked as a seamstress. Ten years later, Bertels returned to Mozambique to document these women once again, as they navigated the new society that emerged after the conclusion of the civil war in 1992.
GUERRILLA GRANNIES depicts Bertels' third encounter with these remarkable women, all three now grandmothers in their 60s, and narrates the filmmaker's long friendship with them. Today Mozambique has a growing industrial economy and stable political system. It also ranks among the top 25 countries in the world for women, according to a 2012 World Economic Forum report, thanks largely to the efforts of pioneers like Monica, Amelia, and Maria. Their success in helping transform the county has sapped none of their ambition, and the film reveals their tireless efforts to create a better life for their children and grandchildren. 
Ruminating on her decades-long relationship with these three women, Bertels catalogues everything she has learned from them, realizing that they taught her 'how to live in this world.' The filmmaker's loving portrait of these women shows us the powerful cross-cultural relationships that can develop between a filmmaker and subject over decades of dedicated documentation, and an unsensational side of African life to which the cinema rarely grants us access.
“Exciting and critical... An important contribution to the cinematographic reflection of decolonization in sub-Saharan Africa.” —Anthropology Review Database
Citation
Main credits
								Bertels, Ike (Director)
Ribeiro, João (Cinematographer)
Diependaele, Dieter (Film editor)
Elings, Albert (Film editor)
Goeliers, Jeroen (Composer)
							
Other credits
Script and direction, Ike Bertels; director of photography, João Ribeiro; editor, Dieter Diependaele, Albert Elings; music & soundmix, Jeroen Goeliers.
Distributor subjects
Africa; African History; African Studies; Aging; Biographies; Conflict Resolution; Family Relations; History (World); Human Rights; Mozambique; Politics; Social Movements; Women's StudiesKeywords
WEBVTT
 
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 The story of my connection
 
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 with Amelia beings when
 I was in my mid 20s.
 
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 I saw her in a BBC documentary
 on FRELIMO soldiers,
 
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 together with her guerrilla friends,
 she was fighting in the bush,
 
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 a 10-year liberation war against
 the Portuguese colonizers.
 
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 There were three young women
 sitting in the grass,
 
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 Monica, Amelia, and Maria.
 
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 This image never left me.
 
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 [sil.]
 
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 [sil.]
 
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 [music]
 
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 I’m back in Mozambique
 
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 with the camera for the third time.
 
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 [sil.]
 
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 The first of the woman I meet is Monica.
 
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 Monica lives in the capital
 with her grandson.
 
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 She has diabetes and I’m touched
 to see how it has aged her.
 
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 But it feels good to see her again
 and to go shopping with her.
 
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 I started taking science, mathematics
 and a little bit of English.
 
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 Most men can go up to standard 6 or more.
 
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 But, especially the girls, when
 they’ve standard 3 or 4, they stop.
 
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 They say it’s enough for us Africans.
 
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 Maria has always been the educated one
 and is the most ambitious of the three.
 
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 Recently, she had a stroke and she
 doesn’t want to be filmed again.
 
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 She’s taken care of by her children.
 
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 I visited Mozambique for the first time
 
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 in 1984, this was after a long
 search for the three women
 
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 I had seen in the film. I had learned
 Portuguese, so I could talk with them.
 
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 With me, I took the BBC film with images
 
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 that it moved me so much. It was
 the very first time they saw it.
 
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 [music]
 
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 Soldiers teach each other their
 traditional songs and dances
 
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 which are becoming part of a national
 rather than purely regional heritage.
 
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 [sil.]
 
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 How was the harvest?
 
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 [sil.]
 
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 [non-English narration]
 
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 [sil.]
 
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 [non-English narration]
 
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 [non-English narration]
 
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 [sil.]
 
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 Monica, Amelia, and Maria
 are now guerrilla grannies.
 
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 These days they don’t
 see each other anymore.
 
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 They live, scattered all over the country.
 For me, this is really Africa.
 
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 My sense of time changes
 
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 as I sit with Amelia and
 listen to her stories. I enjoy
 
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 her sense of life.
 
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 [music]
 
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 [sil.]
 
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 I realized that for Monica,
 Amelia, and Maria,
 
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 the countries newly gained freedom
 held promises of a bright feature.
 
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 Samora Machel, the leader in
 the bush was now the president
 
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 of this new Socialist Republic.
 He had a plan.
 
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 The new man as he called
 it was to be a Mozambican,
 
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 no longer a slave to the Portuguese.
 Independent, well nourished,
 
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 educated, and there was to be
 equality between men and women.
 
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 [music]
 
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 I remember I was impressed to see
 this woman from the countryside
 
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 who had learned to read and write in
 the bush in such a high position.
 
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 [non-English narration]
 
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 [sil.]
 
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 [sil.]
 
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 As we said our goodbyes, I realized how
 much my own life had been inspired
 
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 by these women to fight for
 independence and emancipation,
 
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 ever since seeing that precious
 image of them sitting in the grass.
 
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 [sil.]
 
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 [music]
 
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 [music]
 
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 [music]
 
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 [sil.]
 
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 There’s something ire
 
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 about this modern life in Maputo. It
 belies the catastrophe that took place
 
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 shortly after independence. Who could
 have imaged that Monica, Amelia,
 
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 and Maria, would have to
 withstand a civil war as well,
 
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 one which lasted for 16 years and
 killed more than a million people,
 
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 until finally peace came and
 two years later in 1994,
 
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 the very first elections.
 
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 For second time I went looking for
 the women with my camera crew.
 
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 [music]
 
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 Maria was to arrive in Maputo
 shortly after I had landed.
 
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 She, the educated one,
 
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 had made a career abroad and
 was coming home to vote.
 
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 [music]
 
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 I was stunned to see
 this woman of the world.
 
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 At first, I hardly recognized
 her with a beautiful wig.
 
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 I got a job in the
 organization of African Unity
 
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 in Addis Ababa in Ethiopia.
 
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 I went in 1991… September 1991
 
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 with all the children and the boy had to
 finish his high school here in Maputo.
 
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 I hoped that the girls will be
 with me, but one girl said no,
 
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 I also want to go back home.
 So, she came back home.
 
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 [sil.]
 
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 It was supposed this way, we were
 fighting, all of us were fighting.
 
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 People who were educated and non-educated, you
 know everybody, we were all going together,
 
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 you know, to… for fighting
 to… uh… to get independence.
 
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 But after independence umm…
 
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 it was not possible for all
 of us to get nice jobs,
 
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 good jobs, so some people who were left
 out and they were not happy about that
 
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 and so that’s why when we
 became independent, some people
 
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 stepped aside and started this
 resistance which is (inaudible). Uh…
 
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 FRELIMO leaders only thought that those are
 (inaudible), you know, they will do nothing
 
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 but the thing spread a little…
 a little and it became huge.
 
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 [sil.]
 
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 [sil.]
 
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 In my family too. My nephew was killed,
 the one who was born before my father.
 
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 When he left Zimbabwe
 and arrived home, here.
 
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 He’d fled to Zimbabwe with his children.
 
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 A week after he had returned
 home, he was killed.
 
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 When those RENAMO guys came, they slit his throat. They stabbed
 him in the stomach and left him there, just like that.
 
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 They killed about 18 people
 like this, in Licole.
 
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 [non-English narration]
 
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 [sil.]
 
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 [sil.]
 
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 As I have been out for
 three years we can say,
 
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 many new types of newspapers have come up.
 
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 They make me understand what is the change, what
 is happening. And In the televisions we know,
 
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 in the newspapers and they saw,
 say multiparty, multi newspapers,
 
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 you know everybody is talking, everybody
 is free to talk about this and that.
 
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 And you find it exciting? Very exciting.
 Really this is very exciting
 
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 because this never happened before… before
 the peace treaty especially, never happened.
 
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 [sil.]
 
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 [sil.]
 
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 [sil.]
 
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 For a long time
 
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 after this second visit in the 1994, I
 was to remember Monica’s stoic optimism
 
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 and the sadness in Amelia’s eyes.
 
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 [music]
 
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 I’m pleasantly surprised
 
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 when Amelia invites me to attend
 her granddaughter’s graduation.
 
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 Remember that 3-year-old in the red shirt?
 Well, here she is.
 
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 [sil.]
 
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 [non-English narration]
 
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 [music]
 
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 [sil.]
 
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 From Amelia, I learned that
 it is important to sow
 
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 and to reap at the right time. She applies
 this wisdom to raising her offspring,
 
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 but even a born farmer like her
 cannot predict where rain will fall.
 
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 [sil.]
 
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 [non-English narration]
 
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 [sil.]
 
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 [sil.]
 
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 For Monica the dead are not
 dead, they surround us
 
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 and take part in our daily life.
 
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 When I joined her, as she
 visits her daughter’s grave.
 
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 I realized how many deaths she has
 been confronted within her life.
 
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 [sil.]
 
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 I’m about to leave.
 
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 I may never see Monica, Amelia,
 and Maria again. But I now know
 
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 that they showed their children how to live
 in this world, how to create a future.
 
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 Amelia always says, the future is today.
 
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 [sil.]
 
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