When I saw Eliaichi Kimaro’s moving and complex documentary A Lot Like You at the Seattle International Film Festival in June 2011, one of my first responses to this film was to recognize it as a model for a personal and family accountability process. Having just finished reviewing The Revolution Starts at Home: Confronting Intimate Violence Within Activist Communities for Bitch magazine, I was interested in seeing more concrete examples of community accountability, which the authors define as “any strategy to address violence, abuse or harm that creates safety, justice, reparations, and healing without relying on police, prisons, childhood protective services, or any other state systems.” A Lot Like You brings to life the complicated, messy, beautiful, and liberatory process of addressing harm and seeking healing within a family context.
I sought out Eliaichi, a Seattle filmmaker and activist, for an interview and was excited to learn that she also sees her film as capturing the beginning of a family accountability process. The film was originally titled Worlds Apart, and its change to A Lot Like You reflects the journey that Eliaichi embarked upon while creating this documentary about her relationship to her father’s side of the family – the Chagga tribe in Tanzania, who live on the slopes of Mt. Kilimanjaro. The first cut of the film emphasized the cultural differences in her family, which “spans many different continents and worlds,” but the final version emphasizes Eliaichi’s connection to her Chagga relatives.
After growing up in Tanzania, her father Sadikiel Kimaro earned a scholarship to pursue his PhD in economics in the US where he met his future wife, Young, a student from Korea. While his five siblings remained behind in Tanzania, Sadikiel spent the next forty years or so working for the IMF, while Young worked at the World Bank. They raised Eliaichi and her brother in a suburb of Washington, DC. After her parents retired to Tanzania, Eliaichi and her partner Tom decided to join them with the intention of filming for nine months, partly because Eliaichi felt only a “hazy connection” to her Tanzanian family in spite of having spent every other summer there as a child.
Setting out to portray culture in Tanzania, they interviewed members of Eliaichi’s family and filmed different aspects of Chagga life, but often bumped into cultural disconnect and miscommunication. In the film’s voiceover narration, Eliaichi describes how “everyone around us performed their version of Chagga culture, one they thought that I, as a tourist, wanted to see.” The first cut of the film was focused on Eliaichi’s father’s story, but included interviews with her two aunts who describe, in brutal detail, how their marriage rituals involved violence. Her aunts did not know that Eliaichi was also a survivor of trauma.