At the core of "After the Long Rains," a heartfelt coming-of-age narrative by Zurich-bred filmmaker Damien Hauser, lies a resilient 10-year-old Kenyan girl who dares to defy village traditions and pursue her dream of sailing to Europe. This captivating tale, marking Hauser's third feature film, debuted at the Red Sea Film Festival last year and has now embarked on a journey to the Durban Film Festival, screening from July 18 to 28. This marks a triumphant return to the South African festival for the 23-year-old filmmaker, whose debut "Blind Love" premiered during Durban's 2020 pandemic edition. World sales are handled by Cologne-based Rushlake Media.
Born in Zurich to a Swiss father and Kenyan mother, Hauser grew up in Switzerland, honing his filmmaking skills at the SAE Institute in his hometown. As a fledgling filmmaker, he utilized his behind-the-camera work as a bridge to deepen his connection with Kenya, a country he frequently visited yet "never truly knew" as a child, enveloped in the hustle and bustle of extended family visits.
The coronavirus pandemic brought about a significant change in Hauser's life. He spent six months with his grandmother in her quaint village nestled on the Indian Ocean coast, where he shot "Blind Love" and gained a rudimentary grasp of Swahili. This language proficiency, though not fluent, was enough to spark creativity and unlock new horizons for him as a filmmaker. "Since then, countless stories have sprung to life in my mind, each begging to be told," he reminisces. "There's something that inexplicably draws me back to Kenya."
"After the Long Rains" offers an intimate portrayal of village life, where tradition wields immense power, shaping individuals' lives from an early age. The film's genesis stemmed from Hauser's encounter with the precocious daughter of one of his aunt's neighbors, a young girl who shouldered immense responsibilities in running her family's household. This inspiration materialized into the character of Aisha, a youthful dreamer who is less enthused about her schoolwork than her unwavering conviction to chart her own path in life, defying the conservative norms of her community.
Hauser reveals that the emotional underpinnings of the film stem from his relationship with his mother and his quest to draw closer to her. Despite her frequent reminiscences about her Kenyan life, he admits that his understanding of her was incomplete, and he "never had a clear picture of her." It was only after spending time with his grandmother that details of his mother's childhood came to light. "[The film] transformed into a deeply personal journey, as I gained insight into my own mother's life before I was born," he shares.
As with his maiden opus, "After the Long Rains" stands as a testament to the director's DIY filmmaking approach, a homage to his childhood where he and his friends crafted makeshift movies with a humble "tiny, shabby camera," a cherished Christmas gift from his father. The bulk of the cinematography was helmed by Hauser himself, who also doubled as the screenwriter and producer. He led a guerrilla team of four locals, primarily functioning as troubleshooters during the six-week shoot.
From the onset, the production defied conventional norms. "Upon arrival, I was a stranger in a foreign land. After a fortnight, however, we embarked on our filming journey," Hauser reminisced. Many of the actors, including the youthful protagonist Electricer Kache Hamisi, were unschooled in the nuances of screen acting. Casting was a fluid process, often occurring even as the cameras rolled. Scouting for locations was also a real-time affair, done concurrently with the production. "When filming in Kenya, especially amidst the villages, one must be as nimble as a leaf in the wind," the director emphasized. "But it's an arduous task, requiring daily planning and quick thinking."
Over the span of two decades, Hauser has witnessed the profound impact of the internet and mobile phones on East African society, even in the remote locales where "After the Long Rains" is set. "The younger generation is now exposed to the vast global landscape and Western ideologies," he observed. This rupture with tradition, however, has sparked unease among many. It is this clash between the old and the new that fuels the narrative power of the film, as Aisha, mentored by a local fisherman, strives to carve her own path in life.
"Many individuals sense the gradual dissolution of the familiar world they once knew," Hauser mused. "But one must embrace the inevitable, for the world is a perpetual work in progress."
