Death of a Saint expertly balances the delicate yet essential conversations surrounding death with the celebration of life.
By Marion Wayua Munywoki
The documentary film, Death Of A Saint, directed by Danish-Ugandan Patricia Bbaale Bandak, echoes the sentiments of the beloved Toni Morrison regarding the necessity of confronting the past as a crucial step in addressing unresolved trauma and grief. This non-fiction work chronicles the life of Imelda Dorcas Bbaale, delving into her journey and the emotional complexities surrounding it.
This 90-minute documentary, which premiered in 2024, dives into the profound loneliness and personal challenges of grappling with grief that Patricia faced after her mother, Imelda Dorcas Bbaale, was killed in Uganda in 1989. Patricia, just two years old at the time, grew up without knowing her mother. The film flows between Patricia’s family, a theme highlighted insistently in the quest to learn more about her mother. Scene by scene, they share stories of the time spent with Imelda.
At the beginning of the film, in a conversation with one of her brothers, he questions her curiosity about whether she needs closure, considering she is the only daughter her mother had. This moment carries a bittersweet irony, as Patricia gave birth to her daughter, whom she named Imelda, around Christmas in 2013, after losing her mother on Christmas Eve.
Death Of A Saint also captures moments where Patricia Bbaale Bandak’s daughter, Imelda, actively engages with Ugandan culture, emphasising the importance of her ancestral identity. This contrasts with a scene where Patricia, in tears, laments how she can truly know her mother when she cannot speak her mother’s language.
The film expertly balances the delicate yet essential conversations surrounding death with the celebration of life. One moving scene depicts the family holding a requiem for Imelda However, it is hard to miss the initial subtle avoidance of the family when speaking about her. In Ugandan culture, discussing the deceased in a negative light is generally disallowed.
In the true spirit of the saying, “Mtu ni watu” (a person is a people), Patricia adopts an introspective approach, weaving together fragmented recollections and intimate stories shared by Imelda’s loved ones. Through these memories, Patricia seeks to piece together a fuller, more nuanced portrait of her mother.
Each family member’s perspective provides a unique lens, offering glimpses into Imelda’s complex character and the legacy she left behind. One of her aunts (mother’s sister) laughs about how Imelda would go clubbing on Saturdays and then attend church the following Sunday. This anecdote humanises her, portraying Imelda as a multifaceted individual who revelled in nightlife, yet still embraced her faith with devotion. In this way, she is depicted not just as a saint, but as someone who balanced her passions with her spiritual commitments.
As Death Of A Saint unfolds, Patricia Bbaale Bandak reveals intimate late-night moments in which she candidly discusses recurring nightmares. In these dreams, she sees herself running away from people with guns bleeding from her nose and mouth. In fear, she confirms the doors are locked, and looks under the bed, haunted as a result of PTSD. These vulnerable scenes provide Patricia’s inner turmoil, as she grapples with the trauma that persists in both her life.
Patricia Bbaale Bandak discovers and finds her father in her quest to learn more about her mother. He opens up and admits that he had suspected his wife had been assassinated after their trip to Rome. Faced with this fear, he made the decision to flee to Denmark, prioritising safety over seeking revenge. This revelation adds depth to Patricia’s understanding of her parents’ past and the complex choices her father made during that tumultuous time.
Ultimately, Death Of A Saint leaves us with a profound understanding of how the stories of our loved ones continue to resonate, reminding us that while they may be gone, their influence and memory endure. Are we defined by how we express ourselves, or are we shaped by how our loved ones receive and perceive us?
This documentary is worth watching because it beautifully captures the experience of grieving one’s parents—not only mourning their loss, but also the life one has imagined with them, while discovering ways to honour their memory and make them proud.
Marion Wayua Munywoki is a journalist from Kenya. When she is not reading and exploring literature, she is busy trying to become who she is.