Softie

What happens when the trappings of democracy are completely debased? One case study is Kenya, where an honest, up-by-his-bootstraps candidate for parliament is met with the question, “We’re supposed to vote for you for free?” time and again from his prospective constituents. The documentary Softie follows the campaign of acclaimed news photographer Boniface Mwangi against the overwhelming power of the corrupt regime that’s been in power since the country gained independence from Great Britain in 1963.

Since Kenya’s alleged “democracy” has never been fair and transparent, few people credit voting with any benefit other than a pre-election bribe. Further complicating the situation are the fractured population’s various tribal loyalties, guaranteeing a solid constituency even for crooks in office, from their fellow tribesmen and -women.

Mwangi’s 18-month battle to bend this twisted system back toward justice is filled with nasty encounters, threats of violence, and the occasional ray of hope. But director Sam Soko’s chief focus is the tension the campaign raises between Mwangi and his wife, Njeri, and their three young children — at one point, forced to flee the country. Soko and his crew were also on hand for any number of disturbing encounters between Mwangi and opponents or authorities. The footage is raw and disturbing.

The problem with Softie — the terrible title refers to Mwangi’s derogatory childhood nickname, which no one in the film uses — is that Soko doesn’t trust his material and seems to think that more footage will increase the impact of his narrative, when in fact the opposite is the case. The editing is lax, and almost every scene goes on too long. Njeri’s concerns are voiced, then repeated minutes later, then again.

Perhaps due to the challenging conditions in Kenya, Soko’s range of interview subjects is narrow, and he doesn’t bring in the additional sources he needs to explain the political mess. It’s easy to believe Mwangi’s election opponent — a brash rapper known as Jaguar, supported by the power elite — is corrupt, but the film offers no details on the forms corruption takes in Kenya, apart from election fraud. How exactly is corruption harming the country? If Mwangi were to win, what power would he have to act? Are there any honest PM’s already in office? More context and fewer shots of Mwangi’s adorable children would have been helpful.

Kenya’s democratic system is clearly a train wreck that is not serving its citizens, and the people themselves seem largely unmotivated or too frightened to object. As an example of the ongoing damage caused by colonialism and as a warning about what happens when voters stop believing in the integrity of elections, Softie opens up some important subjects. Then it leaves them largely undeveloped, too wrapped up in one man’s domestic tensions. Softie still offers much to consider, but you may want to follow a viewing with some internet searches of your own.

Grade: C. Available to stream via fineartstheatre.com

(Photo: Icarus Films)