Watch Good Fortune

Good Fortune is a powerful documentary that explores the complexities of international aid and development through the eyes of its African beneficiaries. The film, released in 2009 and directed by Landon Van Soest and Jeremy Levine, provides a thought-provoking look into the impact of large-scale efforts to alleviate poverty in Kenya. Its narrative is carefully crafted to challenge the viewer's perceptions of how assistance is delivered and the often-unintended consequences that can arise.

The film focuses on two different individuals whose lives are dramatically affected by international development projects. The first is a farmer named Jackson, who struggles to retain his community's ancestral land in the face of a large development project. Jackson's way of life is deeply rooted in his connection to the land, where he grows food to support his family and community. The supposed influx of progress threatens to displace him and his neighbors, forcing them to confront the reality that modernization can come at the cost of their homes and heritage.

The second story the documentary follows is that of Silva, a woman from one of Nairobi's most impoverished slums. Her daily life is drastically altered by the implementation of a massive slum-upgrading project financed by international aid - a project that has good intentions but problematic execution. Silva's resilience is tested as she navigates the threats to her small business and the community's survival, questioning the real beneficiaries of the aid that is meant to help her.

Good Fortune provides a layered, critical examination of its subject matter, encouraging viewers to think more deeply about the influence and motivations of global aid organizations. While the intentions behind large aid projects may be noble, the film raises important questions about the disconnect between the aspirations of donors and the realities faced by the recipients of aid. The documentary doesn't shy away from confronting issues such as the lack of community consultation, the challenge of fitting complex social issues into manageable project outlines, and the problematic power dynamics that can influence the success or failure of development efforts.

Throughout its thorough investigation, Good Fortune maintains a deep respect for the dignity and agency of the individuals it portrays. The documentary uses a narrative style that allows the people impacted by these development projects to express their own perspectives and concerns in their own words. This human-centric approach allows the film to convey an intimate and authentic portrayal of the complications and contradictions that these well-intended projects can create.

Technically, the film is shot with attention to both the natural beauty of Kenya and the stark realities of poverty. The cinematography captures the striking contrasts of the environments being examined, from the sprawling rural areas to the compact and chaotic slum alleys. The visual storytelling reinforces the narrative by highlighting these physical differences while maintaining a focus on the universality of the plight of the people affected.

The pace of Good Fortune is contemplative, providing room for reflection and allowing the audience to absorb the information without being overwhelmed by rapid editing or sensationalism. The directors clearly intended to create a film that educates and informs while leaving space for the nuances and complexities of the issues. The documentary refrains from offering simple answers or solutions but rather encourages a discourse around the repercussions of philanthropic endeavors on a human level.

The score and sound design of the movie are subtle yet effective, marrying the visual elements with an auditory experience that is both evocative and understated. The music used throughout the film doesn't overshadow the narrative but complements it, setting the tone for the viewer's emotional journey.

Good Fortune, without providing explicit solutions, serves as a catalyst for discussion about the future of international aid and the ethics surrounding developmental assistance. Its creators succeed in delivering a thought-provoking piece that invites the audience to consider the voices of those on the receiving end of aid, to challenge preconceptions, and to re-evaluate the methods by which aid is delivered and assessed.

In conclusion, Good Fortune is a significant and timely documentary that contributes an important perspective to the conversation about global poverty, wealth inequality, and the role of international aid. It achieves the difficult task of being both informative and emotionally resonant, leaving a lasting impact on its viewers who are likely to ponder its messages long after the credits roll.

Good Fortune is a 2009 documentary with a runtime of 1 hour and 12 minutes. It has received mostly positive reviews from critics and viewers, who have given it an IMDb score of 7.9.