| Nicholas Kristof | ... | Himself - Columnist, New York Times | |
| Brian Steidle | ... | Himself |
Directed by | |||
| Ricki Stern | |||
| Anne Sundberg | (as Annie Sundberg) | ||
Writing credits | ||
| Anne Sundberg | (written by) (as Annie Sundberg) & | |
| Ricki Stern | (written by) | |
Produced by | |||
| Jed Alpert | .... | associate producer | |
| Omar Amanat | .... | executive producer | |
| Ted Greenberg | .... | associate producer | |
| Eileen Haag | .... | producer | |
| Mette Hoffman Meyer | .... | executive producer: TV2-Danmark (as Mette Hoffmann Meyer) | |
| Seth Keal | .... | associate producer | |
| Ira Lechner | .... | producer | |
| Cristina Ljungberg | .... | producer | |
| Jerry Risius | .... | field producer: Chad | |
| Ricki Stern | .... | producer | |
| Anne Sundberg | .... | producer (as Annie Sundberg) | |
| Gretchen Wallace | .... | producer | |
| Jane Wells | .... | producer | |
Original Music by | |||
| Paul Brill | |||
Cinematography by | |||
| Phil Cox | |||
| Tim Hetherington | |||
| William Rexer | (as William Rexer II) | ||
| Jerry Risius | |||
| Anne Sundberg | (as Annie Sundberg) | ||
| John Keith Wasson | |||
Film Editing by | |||
| Joey Grossfield | |||
Production Management | |||
| Katie Brown | .... | production manager | |
Sound Department | |||
| Brad Bergbom | .... | sound recordist | |
| Leslie Bloom | .... | foley artist | |
| Rusty Dunn | .... | sound designer | |
| Tom Efinger | .... | sound re-recording mixer | |
| Tom Efinger | .... | sound supervisor | |
| Ivo Hanak | .... | sound | |
| John Moros | .... | sound editor | |
| James Nichols | .... | sound consultant: Dolby | |
Visual Effects by | |||
| Yorgo Alexopoulos | .... | visual effects | |
| Joshua Dotson | .... | motion graphics assistant | |
| Amber Kusmenko | .... | motion graphics assistant | |
Camera and Electrical Department | |||
| Jason Blalock | .... | additional cinematographer | |
| Marcus Bleasdale | .... | photographer: black & white | |
| Leo Buurman | .... | still photographer | |
| John Foster | .... | additional cinematographer | |
| Patrick Jackson | .... | additional cinematographer | |
| Ralf Oberti | .... | additional cinematographer | |
| PJ Raval | .... | additional cinematographer | |
| Jerry Risius | .... | cinematographer: Chad | |
| Brian Steidle | .... | still photographer | |
| Ricki Stern | .... | still photographer: New York City | |
| Martijn van Broekhuizen | .... | cinematographer: Netherlands | |
| John Keith Wasson | .... | cinematographer: Rwanda | |
Editorial Department | |||
| Will Cox | .... | colorist | |
| Will Cox | .... | on-line editor | |
| Carter Gunn | .... | assistant on-line editor | |
| Riva Marker | .... | additional editor: trailer | |
| Jordan Montminy | .... | additional editor: trailer | |
| Sandy Patch | .... | assistant on-line editor | |
| Kristin Rodriguez | .... | assistant editor | |
Music Department | |||
| Catherine Bent | .... | musician: cello | |
| Catherine Bent | .... | orchestra producer | |
| Paul Brill | .... | score mixer | |
| Paul Brill | .... | score recordist | |
| Elise Carter | .... | musician: flute, alto flute | |
| Claudia Chopek | .... | musician: violin | |
| Andy Cotton | .... | musician: double bass | |
| Nicole Federici | .... | musician: viola | |
| Alejandra Mahave | .... | musician: violin | |
| Katie Scheele | .... | musician: English horn | |
| Robert L. Smith | .... | score mixer | |
| Robert L. Smith | .... | score recordist | |
| Ian Stynes | .... | music editor | |
Other crew | |||
| Hani Alam | .... | translator | |
| Yorgo Alexopoulos | .... | title designer | |
| Abdellatif Eljaziri | .... | translator | |
| Winston Emano | .... | publicist | |
| David Magdael | .... | publicist | |
| Casey McDonald | .... | production assistant | |
| Mara McFalls | .... | production assistant | |
| Ryan Murdock | .... | designer: web | |
| Douglas Ruhl | .... | source: satellite images | |
| Benjamin Rutkowski | .... | researcher (as Ben Rutkowski) | |
| Rachelle Sarfati | .... | production assistant | |
| Nick Schonfeld | .... | production coordinator: Netherlands | |
| Brian Steidle | .... | story consultant | |
| Anne Stulz | .... | publicist | |
| Freddy Umutanguha | .... | translator: Rwanda | |
| Gretchen Wallace | .... | production coordinator | |
| Steven Wallace | .... | publicist | |
| Alexander Wells | .... | production assistant: Rwanda | |
| Amanda Wilder | .... | production associate | |
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| Fahrenheit 9/11 | Darfur Now | Full Metal Jacket | Sand and Sorrow | Days of Glory |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb USA section |
In the early 2000s, a cease fire was declared between two warring factions in Sudan (the Arab Muslims in the north and the non-Arabs in the south), effectively bringing to an end the bloody civil war that had ripped that nation apart for over two decades (though the peace treaty itself was not officially signed until 2005). Former Marine Captain Brian Steidle went to the country as part of a team sponsored by the African Union to help monitor the cease fire. However, while he was there, a new conflict broke out, this time in Darfur, the far western region of Sudan that is largely inhabited by tribal blacks. As soon as the cease fire was in place, militias and death squads, backed by the Arab government in Khartoum, began a well-coordinated and systematic campaign to brutally terrorize and slaughter the inhabitants of that region. Whole villages and refugee camps were wiped out, their people mowed down, burned alive or left to die of starvation, all for being black. Steidle - sans weapons and armed only with a still camera, a video recorder, a great deal of personal courage and a spirit of righteous indignation - spent much of that time traveling through the countryside compiling a photographic account of the atrocities. "The Devil Came on Horseback" is that account.
With this work, filmmakers Ricki Stren and Anne Sundberg clearly hope to rouse the outside world from its lethargy regarding this tragedy. Steidle's heartbreaking and compelling eyewitness testimony to Man's-inhumanity-to-Man is placed in direct opposition to the lip-service platitudes and hollow assurances he receives from the fiddle-playing leaders in the Bush administration and the U.N. when he confronts them with the evidence. First, there is the resistance on the part of the world to declare that what was happening in Darfur is a "genocide" at all - then, after the admission, an intransigent refusal to step in and take any kind of action to halt the holocaust. Perhaps the most heartrending moments come from interviews with survivors living in refugee camps in neighboring Chad, and from reflective comments made by Steidle himself as he struggles with the enormity of what he's seen and experienced and battles against the frustrating reluctance on the part of those who could actually do something to ACTUALLY DO SOMETHING.
After all the horrors it shows us, after all the inspiring images of one caring man making a difference in the world, the movie turns the spotlight directly onto the viewers, challenging them to take an active part in helping to end this human tragedy. Thus, the movie concludes with a list of websites and telephone numbers where all concerned people can go to find out more about what they themselves can do to have an impact. It's a challenge well worth taking up.