“Theatre of Violence” (2022) is an insightful Danish documentary directed by Emil Langballe and Lukasz Konopa, which critically examines the trial of Dominic Ongwen — a former child soldier abducted by the Lord’s Resistance Army (LRA) in Uganda at the age of nine. After being coerced into fighting for the LRA for over two decades, Ongwen is now facing trial at the International Criminal Court (ICC) for war crimes — the first former child soldier to be prosecuted by the ICC.
The film delves into the psychological and physical abuse Ongwen was subjected to, highlighting the brutality he endured during his formative years within the LRA. It begins with Ongwen’s abduction by the LRA. We see how he is forced to fight and kill, and how he is subjected to psychological and physical abuse. It then follows Ongwen’s rise through the ranks of the LRA and his eventual role as a commander. We see how he is responsible for the deaths of many people, and how he becomes a feared figure in northern Uganda. It examines the responsibility he bears for numerous deaths and the impact of his actions on the communities in Northern Uganda.
The documentary also explores Ongwen’s escape from the LRA and voluntary surrender to the ICC, a challenging yet morally-driven choice.
Through this exploration, the film paints a vivid picture of Ongwen’s transformation from a young, vulnerable child to a notorious figure within the LRA, all the while maintaining the complexity of his character and the circumstances that shaped him.
As “Theatre of Violence” transitions to the International Criminal Court (ICC) trial, the film presents a detailed portrayal of Ongwen’s defense by a dedicated team of attorneys. Filmmakers Langballe and Konopa followed Ongwen and his defense team to Uganda, where they sought evidence and witnesses to support their case, as well as during the court hearings at the ICC.
The film offers a critical examination of the Western international justice system, which often operates far removed from the African landscapes where the conflicts unfolded. The documentary questions the legitimacy and effectiveness of this system, suggesting that it may struggle to fully grasp the intricacies of the situation at hand.
It raises several concerns about the fairness of Ongwen’s trial, including his own victimhood as a child soldier, potential cultural biases of the ICC, and the selectivity of prosecution. Ongwen’s background complicates the extent to which he should be held accountable for actions committed under duress. The ICC may struggle to fully understand the cultural contexts and systemic issues contributing to conflicts like the LRA’s. Furthermore, the selective prosecution of certain individuals raises questions about the overall fairness and consistency of international justice. The film argues that these complexities highlight the need for a more nuanced approach to international justice, striving for equity and effectiveness in addressing human rights abuses and war crimes.
By delving into the intricate process of the trial, “Theatre of Violence” serves as a potent and unsettling reminder of the devastating human toll of war. In doing so, the documentary invites viewers to engage in a thought-provoking reflection on accountability, and the possibility of rehabilitation for those who have committed heinous acts under extreme circumstances.
In service of that objective, Ongwen is depicted as a multidimensional character whose actions and decisions have been significantly shaped by the circumstances of his life, as he is now striving to rebuild.
The film sheds light on Ongwen’s struggle to rationalize his actions in the context of the coercion and abuse he endured within the LRA. It captures the emotional and psychological challenges he faces as he confronts his haunting past and the atrocities he committed.
Additionally, his case is historically significant as he is the first former child soldier to be charged before the International Criminal Court (ICC). His charismatic lawyer, Krispus Ayena, poignantly describes him as “a victim who became a persecutor,” highlighting the complexities of his situation and the moral ambiguities that pervade it.
“Theatre of Violence” is based on extensive research, and it includes interviews with Ongwen, his lawyers, prosecutors, witnesses, and victims. It also features footage from the LRA’s camps, as well as from Ongwen’s trial at the ICC — the note on which the film ends.
Ongwen was tried for war crimes and crimes against humanity. The trial lasted for over four years and concluded in 2021 with Ongwen being found guilty of 61 crimes and sentenced to 25 years in prison. The Appeals Chamber confirmed the decision in December 2022. The ICC Presidency will now designate a State of enforcement for the sentence. In the meantime, Ongwen will remain in the ICC detention center. A phase dedicated to the reparations to victims is also ongoing.
It is unclear what the future holds for him, but the film suggests that he is on the path to redemption. It’s a glimmer of hope, not only for Ongwen but also for others who may be in similar situations.
“Theatre of Violence” is notable for several aspects, including the humanization of Ongwen. He is not simply a villain. The film delves into the nuances of justice, and the ICC’s role in this process. Furthermore, the documentary is a reminder that there are no easy answers when it comes to war and its aftermath. It is a call for compassion and understanding, and also a reminder that redemption is possible, even for those who have done terrible things, delivering a powerful and evocative message that will inspire conversation long after the film ends.
“Theatre of Violence” screens this week at Visions du Réel documentary festival in Switzerland. The UK’s Dogwoof is handling international sales.