Haitians continue to endure daily hardships, from escalating violence to the lack of accessible healthcare, and N’AP Boule brings these painful realities to the forefront. Created by filmmaker Alexandrine Benjamin, this short film follows the journey of a young couple, Jean and Rose, as they attempt to navigate a country torn apart by political unrest, gangs, and social instability, in hopes of giving birth in a hospital that might save Rose's life. Drawing from real events that have plagued Haiti for years, N’AP Boule serves as a powerful and urgent message about the crisis Haitians face, especially in terms of maternal health and access to basic services.
In this Q&A, Benjamin opens up about the inspiration behind the film, the struggles faced during its production, and the deep personal connection she has to the story. She discusses the socio-political climate in Haiti, the barriers to medical care, and how the film aims to ignite change. Through her raw and emotional responses, it becomes clear that N’AP Boule is more than just a film; it's a call to action for both Haitians and the international community to confront the grim reality and demand reform.
Below, Benjamin shares insights into the making of N’AP Boule, the importance of art in times of crisis, and the message she hopes resonates with viewers.
What inspired you to create N’AP Boule, and why did you feel it was important to tell this story now?
AB: The original idea came from my associate, Ricardo Tranquillin, who, after a series of intense conversations about the state of our home country, Haiti, suggested that I co-write and direct the film. The story is mostly a compilation of real events experienced by families in Haiti.
We shot the film back in 2021, and things have only gotten worse since then. The decision to create N'AP Boule came out of the anger and frustration I felt about all the violence, kidnappings, and murders that were happening and continue to happen in Haiti. The government was doing nothing to stop it and it started to become normal for the people. It’s like they had seen so much darkness and had gotten used to it. So, I thought N'AP Boule could serve as a wake-up call, to help us understand the extent of the situation and realize that we shouldn’t be living like this.
What key message or emotions do you hope viewers take away from the film?
AB: Haitians are dying every day in Haiti from gunshots, burns, lack of access to healthcare, etc. We know that inequality and corruption are at the root of it all, but the world stands by and watches. Haitians are not numbers. We are actual human beings who just need a chance to live peacefully in this country our ancestors fought so hard for. We need help to stop the bleeding before the last straw breaks the camel’s back, like it did for Jean in the film. In one quote I’d say the message is “Tout Bèt Jennen Mòde,” translated as “A cornered Rat Will Bite a Cat.”
How does N’AP Boule shed light on the challenges of maternal health in Haiti?
The film follows the journey of a young local couple, Jean and Rose, as they navigate blocked roads and deadly gangs in the midst of a violent socio-political movement called “Peyilòk” that has paralyzed Haiti for months – in hopes of finding a safe place to give birth. Despite the couple’s best efforts to finally reach a hospital, Rose still dies shortly after giving birth, due to the contempt and neglect of medical staff, who for a long time refused to provide care to the couple because they had neither the money nor the insurance to pay. The film highlights the suffering of our people and attempts to show that the situation is only getting worse by the day.
Can you tell us about the creative process behind the film—what was the most challenging aspect of bringing it to life?
AB: Creating N'AP Boule required a bit of research, but at the same time, it was like having everything at our fingertips. Since the idea was to keep the film as close to reality as possible so that our viewers in Haiti could identify with it, we worked with archival interviews and footage from past protests – testimonies from people who had experienced a similar situationetc. We also had to fact check and perfectly understand the process of giving birth after your waters broke as not to spread out inaccurate information.
In terms of challenges, I can highlight the inability to acquire the equipment needed for the project. If you watched the film, you can see that about 90% of it is shot at night. This meant that good lighting equipment was needed, as well as a camera that could film well at night…
We tried to do with what we had thanks to my former film school, Artists Institute, as well as other partners like Muska Group, Jako Media, Sonartlive and Spira Film. But some scenes were visually less dynamic than others. The university where I was studying explained that the insurance could not green light my equipment requests to travel to Haiti for security reasons.
One particular challenge was the filming of the second act of the film, the scene where Jean and Rose were beaten. We went on location for three nights in a row but we couldn’t shoot. The first two nights were interrupted by heavy rains, and the third by the assassination of former late president Jovenel Moïse. After that night, I lost faith a bit and thought that was the end of the project. We stopped shooting. And two days later, during a status meeting, the crew reminded me that we should try and finish the project, because these kinds of events were exactly the motivation behind N'AP Boule. So, we resumed shooting and I’m glad that we did.
Do you have a personal connection to the story or themes explored in the film?
AB: Over the last four to five decades, we have made of self-destruction a mission, our mission – and that is what has brought us to where we are today. Therefore, as a responsible young adult, I was troubled by how some of us protesters were acting so violently – throwing stones at open schools, setting fire to public and private institutions, blocking access to roads, letting our own people die or worse, killing them… And all this without thinking or caring about the consequences most of the time.
So, I asked myself why. Why do we have to be so unfair to others when we are asking to be treated fairly. It doesn’t matter if we are incited, armed and/or pushed by others, the fact is that we are the ones holding the guns and killing each other. So, N’AP Boule is a cry from my soul, begging my fellow Haitians to stop killing each other and take charge of our future.
The title, N’AP Boule, is evocative. Can you explain its significance in the context of the story?
AB: N'AP Boule is a very popular Haitian expression that is used either by foreigners to show their knowledge of Haitian culture or by us Haitians to express our feelings. It means “on fire.” The only irony is that whether we’re happy drinking Prestige and Barbancourt, or angry setting fire, we use the same expression. In the context of the film, I use it as a cry for help.
What are some of the biggest barriers to access to medical facilities in Haiti, and how can international audiences help?
Haiti’s healthcare system in general has always been neglected but with the escalation of violence in the country in recent years, things have reached another level of degradation, and childbirth has fallen below what is considered a nightmare. A 2020 UN study ranked Haiti as the most dangerous place to give birth in Latin America and the Caribbean with an estimated 351 deaths for 100,000 live births. This figure has certainly increased in 2024, when we consider that in Port-au Prince for example, about 70% of the area is now controlled by armed gangs according to news, and only two public hospitals are still open. With over 53,000 people displaced, and the rest mostly stuck at home, how is it that a pregnant woman is supposed to receive the care necessary for a safe childbirth experience?
In the rest of the country, very few public facilities are in place, and those that exist do not have the basic means to serve the population. In Jacmel for example, South-East of the country where we shot the film, electricity is almost non-existent. And the city, with a population of approximately 138,000 inhabitants, (World Population Review, 2024), has only one public hospital. Often, a patient who needs an injection must bring their own syringe as well as gloves for the staff; something that I experienced myself. And if a woman in labor were to have a complication that requires surgery, the only thing she can do is dream and hope for miracle.
We must also take into account the frustration of health workers, which is understandable when we know that some of them can go months without being paid. They are always on strike. In order to survive, most have found work elsewhere and do not have time to go and provide care in public hospitals. These are basically what are highlighted in the film.
Many people think that the reason of this neglection from our leaders to invest in the health system is because they usually fly abroad to get treatment for conditions as little as a headache. But it is our duty as citizens who elected those people, to force them to serve do the job that we voted them to do. My hope is that this film can help spark discussion at all levels around the urgency for a complete reform of the health system in Haiti.
How do you see art and film influencing societal change, especially in countries facing crises like Haiti? What kind of impact do you hope N’AP Boule will have on viewers both within Haiti?
AB:The question inside your question might be: what change can come out of a short film...? Well you are right. The chances are very low. I am aware that N'AP Boule is not a magic wand. But because educating people while they are being entertained has proven to be effective, even if it is more like on the long term – I am betting on the fact that N'AP Boule is about the details, the first and second thoughts...
My hope is that the film can inspire Haitians to change their behaviours and think twice when it comes to the strategies we use to protest. For a regular citizen or a violent protestor for example, to think and understand the possible negative impacts when they choose to block a street that may obstruct the way to an ambulance. For the neighbours down the street to come together to try and stop the group that is setting fire to a hospital, a school, or to the car of the guy that live down the street. My expectation is for Haitians after seeing N'AP Boule , to understand that we are the losers. And if we don’t change our strategies, we will always be the one who lose.
This is why I have a duty to see N'AP Boule being distributed and viewed all over Haiti, and maybe that will give me some peace, knowing that I tried to do something, as little as it can be.
Are there other stories you’re currently working on that focus on Haiti or similar social issues?
I am now producing my first feature film “O Negatif”, promoting the full emancipation and inclusion of people living with HIV around the world.