The Confession – Living The War on Terror (2016) : An atypical talking head

This is a review of The Confession (2016)

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)

12 September

This is a review of The Confession (2016)

Those outside documentary circles may puzzle that film-makers choose to call their works ‘features’ (e.g. Alison Rose, regarding Star Men (2015)). However, amongst the variety that is documentary, The Confession (2016) is probably best described thus – a quality that may have helped make it ‘a hot ticket’ at Sheffield Doc / Fest (@sheffdocfest).

On first impression, though, one is more reminded of John Akomfrah with The Stuart Hall Project (2013). A very different style, but both Ashish Ghadiali and he observe subjects with powerful intensity : here, Moazzam Begg, and what he says about his life between first going to Bosnia, to see for himself what was happening to Muslims there (as he broadly put it), and his other exploratory travels. Chronologically (but, as far as Begg is concerned, not otherwise), they led to his being detained, in Bagram and then Guantánamo, for almost three years without trial. (In 2014, until charges were dropped, he was also a maximum-security prisoner, under UK counter-terrorism provisions.)

Sensationally promoting technical aspects of Boyhood (2014), or Russian Ark (2002), might make untutored viewers appreciative of apparent real-time verismo, but how will they register the achievements that make The Confession distinctive ? (Not its title, already being this year’s sixth entry on IMDb (@IMDb).) An experienced director of photography, as well as with credits for two shorts (whose themes are complementary), Ghadiali draws them in – almost unperceived – with a highly prepared interview set-up, so they may not realize how he uses it to curate the sense of integrity that they feel. (Subtle sound-design (Luke Shrewsbury) and original scoring (Nitin Sawhney) also create, or accentuate, tensions in the narrative-line.)

Edited from nine hours’ shooting, the interview is occasionally remitted, usually cut together with other material : often, stock footage to indicate countries (or locations) that Begg visited, but also his father’s television avowals of his son’s innocence (or concern for his whereabouts) – and, eventually, Begg interviewed elsewhere.

For, after a few youthful snaps, we keep seeing him in front of us as he is now, but this lets Ghadiali surprise us with Begg on camera, on the Turkish–Syrian border (a trip instrumental in Begg’s remand, pending trial, in HM Prison Belmarsh). Thereafter, the lens prompts us directly :


* What do we think of him ?

* What would we have thought of him then ?

* What is his confession ?


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

The best of Sheffield Documentary Festival 2015 : in the John Akomfrah retrospective

This is a Festival review of The Nine Muses (2010)

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

24 June

This is a Festival review of The Nine Muses (2010), screened at Sheffield Documentary Festival 2015, in a retrospective of Director John Akomfrah’s work,
on Monday 8 June at 12.00 p.m.

The Nine Muses (2010) was easily the best film seen at Sheffield Documentary Festival 2015 (@sheffdocfest), and, this Tweet, from the previous night, proved prophetic :

So far, two main approaches from @sheffdocfest films : a broadly chronological unfolding (sometimes in real time) and complementary strands.

— THE AGENT APSLEY (@THEAGENTAPSLEY) June 7, 2015

The film opens with large, beautiful vistas, as if of Scandinavian fjords, across which we slowly pan, left to right.

They are perfect, but we sense the coldness in their perfection – and, when we come nearer to and look at the land from a craft, it seems washed out in a grey, inhospitable way (perhaps an effect achieved by colour grading ?). So these views stir something in us already, which builds with the accretion of readings from classic sources such as various episodes from The Odyssey and the opening Cantos of Dante’s Inferno (from The Divine Comedy*) : quite likely, director John Akomfrah intended, with this vivid, unmistakable choice of a land of ice and snow, that we should already be reminded – have stirrings – of ancient lore, such as in the following passages, mentioning a land of winter (and an ideal realm, too) ?

HYPERBOREA was a fabulous realm of eternal spring located in the far north beyond the land of winter. Its people were a blessed, long-lived race free of war, hard toil, and the ravages of old age and disease.

[…] To the south the realm was guarded by the bitterly cold peaks of the near-impassable Rhipaion mountains. […] Directly to the south lay Pterophoros, a desolate, snow-covered land cursed by eternal winter.

From Land Hyperborea

From that first implication, visual images of snowbound land- and cityscapes, and aural images of journeys, deception, captivity and slavery – as Odysseus and others revolve patterns of voyage, shipwreck, and escape combine and complement each other, whilst thoughtfully chosen archive footage** establishes a freezing Britain. Also established, by a title, is the theme of the Muses***, though it is probably harder to keep in mind the film’s apparent Muse-by-Muse taxonomy (or even to be certain whether that scheme is seen through to the end ?).

On a first viewing, certainly, it seemed more convenient to allow the film’s mutually reinforcing elements to work, as it were, impressionistically. For, apart from the ‘purely visual’, one is quite occupied with texts that appear on title-cards (e.g. from Emily Dickinson****), readings (much from Samuel Beckettt’s novels****, with some repeated passages), and music (such as Arvo Pärt’s Spiegel im Spiegel). (Director John Akomfrah went on to direct The Stuart Hall Project (2013), similarly rich in content for a single viewing, and seeming longer than its 103 mins.)

Meanwhile, as the film develops, with the specially shot scenes juxtaposing their more nearby context in the natural, material world with a figure***** in a synthetic jacket (sometimes two figures – if so, in jackets of different colour), we hear words of dislocation and disassociation from Beckettt (or Finnegans Wake, 'The Song of Songs', or Sophocles’ Oedipus trilogy), and maybe reflect on the appropriacy of needing to belong where one is :

Beckettt, brought up in the halfway world of being Anglo-Irish, and all too easily appropriated as an English writer (though he actually learnt his craft by writing in French, and came to translate his prose into English), and finding himself by meeting Joyce in Paris and exiling himself in France – starting with Watt, for some, the worlds that he found to express in his novels, and which Akomfrah has fittingly and adeptly alluded to here by quotation.

Retrospective screening of our acclaimed #TheNineMuses today at @sheffdocfest by the visionary John Akomfrah! pic.twitter.com/D41rXeBsyA

— Miikka Leskinen (@Miikka_Leskinen) June 8, 2015

Achieving potency by its layering of material, The Nine Muses (2010) easily laid down a challenge to other film-makers at Sheffield to think to their craft (and worryingly many in the screening did not seem drawn by this work and willing to stay for the duration) – a challenge not, if this is regarded in essay style, necessarily to work within this format, but to remind them :

Cinema, when it is at its strongest and best, is not grounded or rooted in only the visual (and with what is found to accompany it), but in being a total entity, and, in a different sphere, one might think of the conception and execution of Tarkovsky’s final piece of work :

@ICALondon One for the diary... Tarkovsky. Amazing film maker, and artist. The Sacrifice was the film he made once leaving Russia..one year

— Katherine Da Silva (@KathyDaSilva2) June 23, 2015

Seen at Sheffield : Doc/Fest films with full reviews


End-notes

* All were credited as being on Naxos Audiobooks.

** Sacrificing concern at any grainy quality (or other issue) to concentrate on content and significance of the imagery.

*** A title tells us that they are the nine female children of Mnemosyne (the Goddess of Memory), fathered by Zeus.

**** Also, T. S. Eliot ('The Journey of the Magi' ?), and e e cummings. With Beckettt, Molloy and The Unnamable are credited (though one could have sworn that Malone was there, too).

***** There are credits for wearers of a blue jacket, two yellow jackets (one of whom was Akomfrah), and two black jackets.


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)