In My Country 2005

Set against the mid-1990s Truth and Reconciliation Commission hearings in South Africa, this reflective drama follows a white Afrikaner broadcaster named Anna Malan as she covers a nation grappling with memory, guilt, and the possibility of new beginnings. Starring Juliette Binoche as Anna Malan, Samuel L. Jackson as Langston Whitfield, and Brendan Gleeson as De Jager, the film explores how personal lives intersect with a collective past that refuses to stay buried.

As Anna travels the country with her colleagues, she is joined by her Black sound engineer partner, Dumi Mkhalipi, and by Langston, an American journalist sent to interrogate a former South African Army colonel accused of human rights abuses. What begins as a straightforward assignment gradually deepens into a nuanced examination of restorative justice and the philosophy of Ubuntu — the belief that a universal bond unites all humanity even when the recent past is marked by violence and division. The hearings reveal the stark asymmetry of victims and perpetrators, most of whom are Black and white respectively, though one session centers on Black guerrillas who killed a white farming family, challenging the usual narrative of white guilt.

Langston’s arrival and evolving friendship with Anna and Dumi add layers to the reporting. He starts with skepticism toward Ubuntu, shaped by a long American history with racism, but his attitude begins to soften as he and Anna grow closer, despite their differing worldviews. Their professional mission becomes a personal journey as they seek truth, sometimes clashing over editorial choices, yet gradually recognizing the humanity behind each story.

The investigation takes a decisive turn when Langston interviews De Jager, a white officer who insists he was merely following orders yet believes he has become a scapegoat. Through De Jager’s testimony, Langston and Anna uncover a hidden farm near Anna’s family property, used by the South African military to torture and kill African National Congress guerrillas. They also recover the body of a former guerrilla, an discovery that forces De Jager to reveal more about the higher-ups who ordered or concealed abuses. The possibility of amnesty through the TRC becomes a central tension, as De Jager’s fate hinges on whether his actions were proportionate to the objectives he pursued.

Anna’s personal life intersects with the ongoing moral reckoning when she confronts her brother Boetie about his complicity in the past horrors. The revelation is devastating: Boetie takes his own life. The family’s tragedy ripples outward as Anna’s mother confesses an extramarital affair with a Chilean poet, adding another layer of guilt and concealment to a country already wrestling with its own sins. In the wake of these revelations, Anna shares her romantic affair with Langston with her husband, and, after an initial storm, he finds it within himself to forgive. The three-way reconciliation hints at a broader healing that the country hopes to achieve, even as personal loyalties are strained.

The danger and volatility surrounding Dumi’s past as an informer catch up with him. On a later trip, a gang murders Dumi in retaliation for actions that had previously betrayed people to the police. Langston is left to reflect on the fragility of forgiveness in a landscape where violence continues to echo the old order. Anna, confronting the weight of collective guilt, pleads for the land itself to forgive its people, seeking a future built on accountability, remembrance, and mercy rather than retribution.

In the closing notes, the film situates the intimate stories within the larger truth-telling project: more than 21,800 victims testified to the Truth and Reconciliation Commission, and 1,165 perpetrators received amnesty under the peace process. The narrative remains a meditation on how a society can confront its darkest chapters while learning to coexist with the truth, demanding mercy where possible and demanding accountability where necessary.