Good Fortune

Good Fortune is an intriguing and insightful documentary film released in 2009. Directed by Landon Van Soest and Jeremy Levine, this film uniquely portrays the trials and tribulations experienced by two Kenyans fighting against multinational plans intending to eradicate poverty in Africa.

The central focus of the film is on two compelling individuals, Silva and Jackson, residents of Kenya who are fiercely battling to protect their humble abodes and modest way of life. Silva’s home is threatened by a United Nations' housing project in Kibera, one of Africa’s largest slums, while Jackson’s way of life is at odds with a proposed American-led agriculture corporation in the rural Kenyan delta. We see the contrast between the urban and rural landscapes, and are given a profound look into the lives and struggles of the people living there.

Good Fortune explores the paradoxical effects of these large-scale, international efforts towards alleviating poverty. Instead of bettering their lives as intended, it leads to displacement and the disruption of their livelihoods. By unveiling the stories of Silva and Jackson in a raw undeflected manner, the film questions the supposed good intentions of these global endeavors.

The film gives us a piercing observational narrative, showcasing the disparity between the grand plans concocted in boardrooms in the far-off West, and the reality of the situation in Kenya. International development projects often emerge from western standards and may not take into account the truly dire needs of the local population or the impact it can have on their lives. This film brings this issue front and center, creating a compelling narrative that encourages viewers to question their own ideals towards foreign aid and development.

Jackson, the protagonist in the rural storyline, is a farmer who is deeply opined about the ethics of the proposed American farming corporation. The anticipation of the consequences this venture can have on their local farming community, and the apprehension about a befitting reparation is striking. Despite promises of employment and food security, his skepticism cleverly adds to the film’s central theme – the uncertainties of imposed developmental remedies.

Simultaneously, Silva’s story presents the anxious uncertainty riddling the lives of over twenty thousand people in Kibera slums, once the international housing project takes over. Silva’s tireless struggle to oppose eviction from her long-term home is heartfelt and rallying.

Good Fortune is an expertly crafted film, filled with powerful visuals and distinguished by its careful avoidance of stereotyping or simplifying the complex problems that it presents. Filmed over a span of four years, the film's stark observations, in-depth interviews, and compelling footages offer a human element to these political and economical changes. Skirting the terrain of sensationalism, the filmmakers instead choose to embrace the nuanced complexities of the prevailing problems in these developing regions.

Rather than focusing on the charity campaigns or foreign aid workers, the directors put the spotlight on those impacted, taking us right into their homes, farms and everyday lives. The film presents an unfiltered ground reality, illuminating the possibilities and pitfalls of development through the eyes of those embroiled in it. Through masterful storytelling, the audience is introduced to the complex dynamics of foreign intervention in Africa.

In essence, Good Fortune is an essential watch for anyone looking to gain an authentic understanding of Africa beyond the headlines, a rare insight into the effects that international efforts to alleviate poverty have on the local population. By making the viewers virtually walk alongside Silva/Jackson in their struggles, the film succeeds in creating a thought-provoking critique of international aid.

As thought-provoking as it is heart-wrenching, Good Fortune calls on its audience not only to question but also to consider the real, tangible implications of global development assistance. The film serves as a stark reminder that change, even with the best intentions, when imposed from above, can often lead to unanticipated and disastrous consequences.

In shedding light on these two crucial issues, the film doesn't necessarily provide straightforward solutions. Instead, it challenges the healthcare, housing, food security, education, and other developmental narratives that have long been broadcasted. It emphasizes the need for effective dialogue and collaboration with local communities and powers, intending to harmonize the progress and growth planned for them without disrupting their existing lifestyle and environment.

Strongly resonating, Good Fortune is more than just a documentary; it is a voice of marginalized communities defying powerful global forces, ensuring their perspective isn't left unheard. It exposes the impact and fallacies of ‘one-size-fits-all’ development models and provides an essential perspective that's often missing in discussions about poverty eradication and international aid.