365days365films

Basic Info / 基本情報

Synopsis / あらすじ

English (Short Synopsis)

April 1994. Kigali, Rwanda. Paul Rusesabagina (Don Cheadle) is the house manager of the Hôtel des Mille Collines, a four-star establishment catering to Western businesspeople and diplomats. He is Hutu. His wife Tatiana (Sophie Okonedo) is Tutsi. He is skilled at the specific art of powerful men — knowing what they want, supplying it before they ask, accumulating the favors and relationships that constitute, in his world, a form of security. When the genocide begins — on April 7, 1994, the day after President Habyarimana’s plane is shot down — it begins with machetes and radio broadcasts telling Hutu neighbors to kill their Tutsi neighbors, and it moves faster than anything the international community is prepared to address. The UN peacekeeping force, commanded by Colonel Oliver (Nick Nolte), is ordered not to intervene. Western nations evacuate their citizens. The Rwandans are left. Rusesabagina uses every resource he has — his contacts, his liquor cabinet, his ability to bribe and flatter and threaten and negotiate — to keep the people sheltering in his hotel alive. At its peak, he shelters 1,268 people. The genocide kills 800,000 in 100 days. Hotel Rwanda is a film about one man’s decision to act, about the international community’s decision not to, and about the specific horror of a world that watches a genocide happen and calls it something else until there is no one left to save.

日本語 (簡潔なあらすじ)

1994年4月。ルワンダ、キガリ。ポール・ルセサバギナ（ドン・チードル）は、西洋のビジネスマンや外交官向けの四つ星ホテル「ホテル・デ・ミル・コリン」の支配人です。彼はフツ族。妻のタチアナ（ソフィー・オコネドー）はツチ族。彼は権力者たちとの特殊な技術に長けています——何を望んでいるかを知り、求める前に提供し、自分の世界では一種の安全保障を構成する恩義と人間関係を積み重ねること。虐殺が始まるとき——1994年4月7日、ハビャリマナ大統領の飛行機が撃墜された翌日——それは鉈とフツ族の隣人にツチ族の隣人を殺すよう促すラジオ放送とともに始まり、国際社会が対処できる準備のできているあらゆるものより速く動きます。オリヴァー大佐（ニック・ノルティ）が指揮する国連平和維持部隊は介入しないよう命令されています。西洋諸国は自国民を避難させます。ルワンダ人は置き去りにされます。ルセサバギナは持てるすべての資源を使います——コネクション、酒の在庫、賄賂を贈り、おだて、脅迫し、交渉する能力——ホテルに避難している人々を生かし続けるために。最盛期には1,268人を匿います。虐殺は100日間で80万人を殺します。『ホテル・ルワンダ』は一人の男の行動する決断について、国際社会の行動しない決断について、そしてジェノサイドが起きるのを見ながら誰も救えなくなるまでそれを別の何かと呼び続ける世界の特殊な恐怖についての映画です。

Cast & Crew / スタッフ・出演

Additional Information / 追加情報

Awards / 受賞歴

• 77th Academy Awards (2005) – 3 nominations:
  • Best Actor – nomination (Don Cheadle)
  • Best Supporting Actress – nomination (Sophie Okonedo)
  • Best Original Screenplay – nomination (Keir Pearson, Terry George)
• 62nd Golden Globe Awards (2005) – 3 nominations:
  • Best Motion Picture – Drama – nomination
  • Best Actor in a Motion Picture – Drama – nomination (Don Cheadle)
  • Best Supporting Actress – nomination (Sophie Okonedo)
• 58th BAFTA Awards (2005) – 4 nominations, 1 win:
  • Best Actor in a Leading Role – WON (Don Cheadle)
  • Best Film – nomination
  • Best Supporting Actress – nomination (Sophie Okonedo)
  • Best Original Screenplay – nomination
• Screen Actors Guild Awards (2005) – 2 nominations:
  • Outstanding Performance by a Male Actor in a Leading Role – nomination (Don Cheadle)
  • Outstanding Performance by a Female Actor in a Supporting Role – nomination (Sophie Okonedo)
• Black Reel Awards (2005) – 2 wins:
  • Best Film – WON
  • Best Actor – WON (Don Cheadle)

Critical Reception / 批評的評価

• Rotten Tomatoes: 91% (Critics), 95% (Audience)
• Metacritic: 79/100 (Generally Favorable Reviews)
• IMDb: 8.1/10
• Eiga.com（映画.com）: 4.1/5
• Don Cheadle’s performance universally described as one of the finest of his career and of the decade — a performance of extraordinary internal precision, conveying a man calculating, grieving, and improvising simultaneously
• Sophie Okonedo’s Tatiana praised as the film’s emotional anchor — the scene in which she is nearly taken from the hotel called one of the most harrowing moments in the film
• Nick Nolte praised for his depiction of a UN commander whose institutional constraints prevent him from doing what he knows is right — a portrait of bureaucratic impotence as a form of moral failure
• The film’s narrative restraint praised — it does not show the genocide’s worst violence directly, instead trusting the audience’s imagination and Cheadle’s face
• Joaquin Phoenix’s journalist, whose footage of the killings he knows will not change Western policy, provides the film’s most direct indictment of international indifference
• Roger Ebert.com: ★★★★ “A powerful film — Cheadle’s performance alone would make it essential viewing”
• The New York Times: “Devastating and necessary — a film that demands the question: what did we do?”
• Variety: “One of the most important films of the year — a moral argument delivered through story”
• The Guardian: ★★★★ “Cheadle is extraordinary — a film about heroism that never forgets the scale of the failure surrounding it”
• Some critics and Rwandan scholars noted the film’s focus on a Hutu man sheltering Tutsis risks simplifying the genocide’s complexity — the film has been praised for humanizing the crisis but also criticized for Westernizing its frame (the UN colonel, the Western journalists) at the expense of Rwandan perspectives
• The subsequent revelations about the real Paul Rusesabagina — his 2021 conviction in Rwanda on terrorism charges related to an armed rebel group, which he and his supporters contest — have complicated the film’s legacy in ways that were not foreseeable at the time of its release
• Consistently cited alongside Schindler’s List and The Killing Fields as one of cinema’s defining engagements with twentieth-century genocide

Box Office Performance / 興行成績

• Worldwide Total: $33.9 million
• Domestic (US/Canada): $23.5 million
• International: $10.4 million
• Production Budget: $17.5 million
• Return on Investment: ~1.9x (modest theatrical; strong ancillary and educational)
• Opening Weekend (US):
  • Limited release: December 22, 2004 (7 theaters)
  • $224,684 opening weekend (limited)
  • $32,098 per-theater average (excellent)
  • Wide release: January 21, 2005
  • Wide opening: $3.3 million (#8)
  • Peak: 1,203 theaters
• Performance Analysis:
  • Classic specialty film strategy — limited Christmas release for Oscar qualification, wide January expansion
  • Three Oscar nominations (including Best Actor) drove the film’s largest commercial moments
  • Don Cheadle’s BAFTA win (February 2005) sustained UK theatrical run
  • The film’s educational value drove significant institutional purchasing — schools, universities, NGOs, UN agencies
  • Long life on streaming and in educational contexts far exceeded theatrical performance
  • Released ten years after the genocide — the anniversary context gave it additional resonance
• International Breakdown (estimated):
  • UK: ~$4M (BAFTA win; strong critical reception)
  • France: ~$2M (French connection to Rwanda — France’s controversial role in the genocide gave the film particular weight)
  • Germany: ~$1.5M
  • Africa: Limited theatrical release but significant cultural importance
• Educational Legacy:
  • Widely used in high schools, universities, and NGO training programs worldwide
  • Distributed by the UN, Amnesty International, and human rights organizations
  • One of the most-assigned films in courses on genocide, humanitarian intervention, and human rights

Related Review / 関連レビュー

🔗 English Review
・[International Day of Reflection on the 1994 Genocide Against the Tutsi in Rwanda] When World Left, One Man Didn’t Close Door

🔗 日本語レビュー
・【ルワンダ虐殺追悼国際デー】世界が去っていったとき、一人の男はドアを閉めなかった