Cartoons have always been considered to be the exclusive property of children, and people often equate beautiful words such as innocence, kindness, and innocence. When innocent animation meets brutal war, animation will act like a catalyst in a chemical experiment, doubling the release of cruelty, and then you will get a product that is more cruel than cruelty.
On 11 November 1975, Portugal withdrew from Angola in its entirety, ending 500 years of colonial rule and establishing the People's Republic of Angola. Angola, which has finally become independent and self-governing after many vicissitudes, has not been able to usher in a long-lost peace. At the beginning of the country, there were two main parties in Angola: the People's Liberation Movement of Angola (SPLM), supported by the Soviet Union, and the National Union for the Complete Independence of Angola (UNITA), supported by the governments of the United States and South Africa. The two sides have irreconcilable differences in the state system, coupled with the interference of external forces, and the 27-year Angolan civil war has begun.
Reshad Kapczyński, a foreign correspondent for the Polish News Agency, came to Angola, in Luanda, where he experienced first-hand the evacuation of the Portuguese, the establishment of Angola, and the conflict between spousal and UNITA. After the outbreak of the civil war, the rich, including angola's own somewhat powerful people, chose to leave this war-torn country, but Kapczynski chose to stay, to witness a history in which a hopeful Angola would be born in Africa.
Since he came from Poland, which was also a socialist country, Kapuczyński also became a solid supporter of the SPLM. After learning that Ongeva in southern Angola had produced a fighting hero, Farusco, who personally led a small number of his men to resist the strong attack of UNITA and established a base area. Kapuchinsky came up with a bold idea: he would go to the front line alone to interview the hero of the battle, and spread the hero's deeds to the world through words.
However, the authorities refused to issue him a permit to the front lines, considering that he was a foreign journalist and for his personal safety and for his own lack of diplomatic responsibility. One day while drinking at a bar, Kapuczyski met the Angolan journalist Artur. After talking through the night, they found that the two were in agreement, so Kapuczyski proposed that Artur, who was originally an Angolan, lead him to the front. Artur readily agreed, and the two embarked on the road to Ongeva...
Before leaving the capital Luanda, Kapuczyski only learned about the war through other media reports, did not have a deep understanding of the cruelty of the war, and felt that he would personally witness the birth of a great country and experience a period of history, until he saw the real war on the way to Ongiva. On one road, he and Artur saw the slaughtered refugees, and all they could see were thousands of corpses, both adults and children, piled up all over the road. Just as the two men stopped their car to search for survivors, they were ambushed by UNITA troops, but fortunately, the Ann People's Movement, led by Carlotta, arrived in time to save their lives. After this terrible experience, he and Artur had a disagreement. Realizing that UNITA might blame and discredit THERM, Artur must return to the capital and preemptively report on this real experience and what he saw. Kapuczynski still firmly believed that he should go to the front and spread the true story of the Fortune of Ann to the whole world through his own words, so they separated.
Kapuczynski followed Carlotta's convoy to a city controlled by sprawl, where he met the SPLM commander, and after talking to the commander, Kapuczyski persuaded the commander to send Carlotta's convoy to Ongiva to interview Farusko on the condition that he would report on their deeds.
On the way he talked a lot with Carlotta, and in the chat he learned that Carlotta was only two months old and had turned 20 years old, and like most girls, she longed for peace, longed to form a happy family, to have a few children, to let the children grow up in a peaceful and stable society, and to go to school to learn. When the front detected an ambush by UNITA troops in the woods, Carlotta ordered Kapuczyski and another journalist, Luis Alberto, to be sent back to the base, while he himself led the soldiers to meet the battle...
That night Kapuczynski was informed that Carlotta and her men had all been killed in the battle. Carlotta will never be able to celebrate her 20th birthday, witness the day of peace in Angola, or start her own family and educate her children.
Karota's death deeply touched Kapczyski's heart and strengthened his determination to go to the front to interview Farusko. He woke up the sleeping driver, and by nightfall he set foot again on the road to Ongeva, and after a night of trekking, they finally reached Ongeva the next morning and successfully met Farusko.
During the conversation, he learned that Farusco had previously joined the Portuguese paratroopers and had only joined the SPLM, for which both UNITA and Western forces operating in Angola regarded Farusco as a traitor. In fact, Farusco, like all young soldiers, wants to help the vulnerable groups overcome the invaders and achieve the ultimate peace through their own practical actions. And when he really came to the battlefield, he found that everything was the opposite of what he had imagined, and that the West he represented was the aggressor. The enemy on the battlefield is not a brutal warlord, but a group of ignorant children, a group of children only about 12 years old, forced to get involved in this cruel war. They long for a peaceful and stable life, but they have no choice, and at a time of national crisis they can only take up arms and join the people's movement to fight for the ultimate peace. In the pursuit of absolute fairness and the expectation of an ideal society, Farusko decided to "rebel" and join the SPLM.
After a successful interview with Farusko, Kapuczyski decided to leave Ongiva the next day and head to the capital, Luanda. On the one hand, he wanted to convey to the headquarters of the Uni-People's Movement in the capital the news of the invasion of Angola by the South African army supported by the United States, asking them to send troops to support Farusco; on the other hand, he promised many soldiers who fought on the front line to pass their stories through his words to all corners of the world, so that the people of the world would know their stories. They are afraid that after their deaths, everything they have fought for will be buried in the yellow sand with their bodies and forgotten by the world.
At the SPLM headquarters in the capital, Kapuczyński learned that Cuba had decided to send troops to Angola to support its peaceful independence. With this blockbuster scoop in his hands, as long as he spreads the news back to China, he will become famous in one fell swoop as soon as it is reported. But this confidential information is known to the United States, which will certainly affect the control of the SPLM and the future of Angola will change. In the end, for the sake of the overall situation and the future of Angola, he chose to give up this opportunity to become famous and did not disclose any news to the outside world.
After Angola's independence, Kapuczyski returned to Poland, where he wrote a book about his experiences in Angola and titled It Another Day in My Life. He has since published more than 20 books, translated into more than 30 languages, and sold worldwide.
On January 23, 2007, Reshad Kapuchins died of a genetic heart attack in Warsaw, Poland, at the age of 74.
The narrative of this film is mainly based on animation, interspersed with real shooting paragraphs, and the real shooting screen mainly shows the main characters that appear in the animation and the current situation. It is from these characters that they recall the past of the year that the story shown in the animation is revealed.
This is an excellent anti-war film, and most of the other live-action war films rely on bloody pictures and the tragic situation after soldiers are injured to reflect the cruelty of war. This film uses the form of animation to show the cruelty of war, and unlike live-action war films, animation shows more tension on the cruel picture. The film repeatedly uses images that are impossible to appear in real life and are full of mood to show the cruelty of war. Each of these frames is a model of the aesthetics of violence, which can be shown to the world as a work of art.