REVIEW: DVD Release: Heart Of Fire

Film: Heart Of Fire
Release date: 11th October 2010
Certificate: 12
Running time: 94 mins
Director: Luigi Falorni
Starring: Letekidan Micael, Solomie Micael, Seble Tilahun, Daniel Seyoum, Mekdes Wegene
Genre: Drama/War
Studio: In2Film
Format: DVD
Country: Germany/Italy/Austria/France

When a 10-year-old old girl has to ask her sister: “What’s your name?” you know you’re not watching a cheery family drama. Heart Of Fire is an African coming of age journey set in war-torn Eritrea. Based on the memoirs of singer Senait G Menhari, this cinematically stunning piece of film showcases East Africa’s beautiful charm without forgetting the trauma suffered by its inhabitants.

Letekidan Micael plays Amet, a charismatic young girl brought up by nuns in a cloister of abandoned children. She struggles to get along with her peers and harbours a questioning curiosity that sets her apart. The one thing that she doesn’t question is her belief that her father must be battling Ethiopian soldiers to secure his country’s freedom: a dream just waiting to be shattered.

Sure enough, her fantasy is ruined when her sister inexplicably materialises to take her back to their family. ‘Home’ would be the wrong term - dirty, crowded and hostile; it is an intimidating place of toil and poverty. Her father is a devious character whose motives remain dubious. Hiding behind a flimsy mask of patriotism, he soon shifts the burden of his daughters by taking full advantage of the Jebha freedom fighters.

Shipped out to the self-proclaimed socialist army, Amet is faced with another new environment. She grapples with the teenaged authorities for their respect, and her tenacity pays off when she finally finds acceptance. Much to viewers’ relief, the reality of the child-exploiting Jebha (which is adamantly denied by Eritrean authorities) dawns on her, as she realises that her own identity is actually much more worthy than this aggressive, adolescent legion…


Excitement, anxiety and disappointment are all captured faultlessly in this pleasantly paced film. There is no chaotic whirlwind of tension, but a steady narrative that meanders through a gentle stream of emotion. Amet is given room to grow; the seed of responsibility sowed by her unsettled past, and she develops into a character who is older and wiser than her years.

The plot is basic, but that is perfectly acceptable: what isn‘t is the sloppy conclusion. Treated like a quick debrief, it feels hurried and false. Despite being inspired by Menhari’s biography, it lacks credibility and leaves the viewer dissatisfied. Although never a particularly challenging film, it is unfortunately let down by such a weak finale.

The story’s very simplicity does, however, works in Felorni’s favour. He is able to utilise his extraordinary cast, which comprises of actors who don’t just win viewers’ empathy, but manage to bond with them. Amet engages the audience from the start, her voice over setting the scene, and telling listeners what they need to know; her openness makes her an instantly accessible portal into Eritrea.

This connection is further enhanced by footage of romantic landscapes cleverly scattered throughout. Viewers want to be there alongside Amet in that earthy, exotic land. Of course, we’ve seen it all before, in photographs and on television and, in all honesty, there is nothing original about the images Felorni uses. Some might even go so far as to call it clichéd, but it would be sad to let this cynicism come between film and viewer. Likewise, the soundtrack is typically African to the outsider, but there is something undeniably pleasing in the tribal horns and enigmatic singing. Visually and aurally, Heart Of Fire might be one big stereotype, but it rapidly absorbs the viewer.

Strikingly equipped to suit mainstream audiences, Heart Of Fire can potentially lead the way for spreading world cinema westward. An endearing little girl with a troubled past, a straightforward storyline and strong script essentially give commercial film fans what they want. Those plagiarised portraits of East Africa offer security and familiarity which Western egos will find reassuring and flattering.


For those who can look past the traps of predictability that Felorni falls into, Heart Of Fire is a poignant film. A commendable collection of characters embellish the narrative, provoking genuine sympathy within viewers. In Letekidan, a true talent has been unearthed, and the budding child star is set to shine through the shadow of Hollywood to put Africa on the movie map. RS

INTERVIEW: Producer: Andreas Bareiss & Sven Burgemeister

Courtesy Metrodome Pictures.

In Heart of Fire, director and scriptwriter Luigi Falorni ("The Story of the Weeping Camel") chronicles the moving and heart-stopping story of a seemingly hopeless childhood. The producers of "Sophie Scholl" and the Oscar®-winning "Nowhere in Africa" have created a film of profoundly moving humanity…

The film is inspired by the book 'Heart of Fire' by Senait Mehari, in which the author describes her childhood, including the time she spent as a child soldier in a camp of the Eritrean liberation front ELF. As producers, what was your main interest in this story?
Sven: Someone escapes from another continent, from a great injustice, ends up in Germany and tells her story. You feel personally involved, as a human being, not just as a filmmaker.
Andreas: This film shows the growth of a conscience. Some people are already opposing injustice in their childhood. They understand what is good and what is bad. This child has to master conflicts that appear unsolvable even for adults.

Films that play in Africa have become a genre of their own in the past years. Viewers have certain expectations – stunning landscapes, grand romances...
Sven: I really wonder whether this is what people truly expect. 'Heart of Fire' concerns a genuine human drama from the African continent.
Andreas: This is guaranteed by a director like Luigi Falorni. The fact that we sought out a documentary film director for this feature film makes it clear how we approached the film's style and contents.

You were not allowed to shoot in Eritrea. Why?
Andreas: We tried very hard to shoot on original locations in Eritrea. We sent all the versions of the script to the Eritrean government. In a letter of 17th April 2007, the Eritrean government sent us the following justification for their rejection of the project: “At no point in the history of the Eritrean war of independence were children and youths under the age of 18 allowed to take up arms in the war. Those youths who surreptitiously left their schools of their own free will to join the liberation struggle were demonstrably sent back to their schools and caretakers.” They simply do not want to accept that they clearly violated the U.N. convention in the past.

Is it true that pressure was exerted on the participants from the Eritrean secret service?
Sven: You can say that the Eritrean government and its supporters do not want this film. They make it personally and unmistakably clear to whomever they get their hands on.

You shot exclusively with amateurs. According to what criteria were they cast and how were they coached?
Andreas: They had to be Eritreans since they had to speak the native tongue Tigrinya. In the workshops, we didn't want to simply see them as actors, but we wanted to find out what their personalities were like in order to cast them accordingly. MP