Traveling with New York Times columnist Nicholas D. Kristof, director Eric Daniel Metzgar seeks a story of sentiment, understanding and depravation. In the process, he uncovers the risks that come with reporting, as well as the cold emotions that Kristof must use when visiting a place of active warfare.
Along for the trip are two contest winners, a young medical student and a school teacher/photographer. Together, the three travel throughout the Democratic Republic of Congo, searching for stories and people to share with their readers.
Starting out with an extensive voice-over from director Metzgar, most of which details the credentials of Kristof, Reporter sluggishly attempts to introduce its main points. Regretfully, this is where the film hits its main roadblock.
The voiceovers by Metzgar quickly grow old as he continues to point out the obvious, giving little insight into the story or the film. Additionally, his tone is that of unwavering emotion. Never does he seem to feel for those in front of the camera, an unbiased maneuver, but one that makes you question his feelings towards genocide and the people directly affected by such a devastating act of violence.
Yet somewhere, deep within the context of the film, you begin to wonder what is truly under examination: the conflict or the reporting measured used by the lead subject. And while I was turned off at first, the film benefited greatly from this side angle as much of the film is spent watching on as Kristof attempts to find the most heartbreaking story available, using it to personify the lifestyles that exert themselves throughout the villages.
The interviews are questionable, the allegations contain no evidence and it is always a struggle to get anyone to tell you what really happened. Throw in the extreme language/culture barriers and it is no wonder that many stories never see the light of day.
This angle, though a big off-putting, helps give the film its unique and addicting flavor. No longer is it one of those stereotypical films that calls for change and awareness; instead, it digs into those who are finding the stories, seeing how they do it and just how reliable each is.
