Review: Hot Docs’ ‘World Showcase’ provides new takes on war & violence (Includes first-hand account)

The Hot Docs Canadian International Documentary Festival’s “World Showcase” program includes selections that are not only produced outside of Canada, but that also address global issues. There are countless subjects that affect more than one community or country even though filmmakers may be forced to limit their focus. Two key topics highlighted in this section are violence and war. The following three documentaries are based on specific incidences, but the implications of their subjects are much broader.

The interviews were completed between 10 and 19 days after the war. The weary soldiers openly contemplate murder in the context of war and wonder if this victory will cause them to always be in a state of conflict. Several of them even state they don’t believe the losses justified recapturing Jerusalem and the Western wall, which was and still is a controversial opinion. The voice recordings are intercut with archival footage, including several reports by an ABC News correspondent stationed in the country, as well as numerous photographs with the odd glimpse of the speaker listening to his own interview decades later. At the movie’s conclusion, filmmakers ask the now elder, former soldiers if they still stand by their statements and their responses are quite thoughtful in some cases.

Lawrence also lends his expertise to the families of victims of similar circumstances. One instance involves the death of Matthew Stewart, who was involved in a gunfight with S.W.A.T. after they “broke into” his house in the middle of the night because they suspected he had a marijuana grow-op in his basement. This case is less clear-cut than the primary one, but Lawrence once again uncovers a lot of evidence that point to misconduct. Filmmakers trace the history of S.W.A.T. from its creation in 1965 to its first raid in 1969 to President Richard Nixon’s implementation of the “no knock raid” in 1971 to fight the war on drugs to the astounding exponential increase since the ‘70s. Cops involved in some of the incidents are interviewed as well as a high-ranking officer who insists the militarization of police is a myth. Even without relating the events in the film to any of the current events making headlines, it’s a fascinating exploration of an increasingly aggressive authority.

The focus of the documentary is deeply-seated in the first-hand experiences of Somalians touched by al-Shabab. There are no pundits attempting to explain the increasing phenomenon of Western children returning to fight a war their parents escaped, but rather personal accounts of those who have confronted the choice. Short interviews with men who are presently soldiers of al-Shabab demonstrate their dedication to the cause and unwillingness to return home, and a training video outlines some of their teachings. One of the film’s most enlightening speakers is introduced in the latter half of the movie, having recently deserted from al-Shabab. He describes the cult-like methods of the group and its expectations once enlisted, as well as his fear of discovery. All of the young men are very articulate when relating their stories, regardless of their decision. Other than sharing these personal perspectives of the situation, filmmakers also make a point of showing not all Muslims share the views of extremists regarding the West and suicide bombs as several of them condemn the actions of friends and family.

Ticket and screening information are available on the Hot Docs website.

Similar Posts

  • Review: ‘Tangerine’ is about more than a commonplace camera (Includes first-hand account)

    There was a trend in ‘90s and early 2000s cinema to build narratives around provocative characters without a specific or traditional story attached. The film simply chronicled a day in their lives in which they were forced to manage a certain uncommon situation or as they went about their daily routine, introducing viewers to other fascinating personalities and lifestyles. They often unfolded amongst society’s disadvantaged, and were the bread-and-butter of indie filmmakers. Tangerine revisits this story structure with style and energy while being shot entirely on the iPhone 5S.

  • Review: ‘Ouija’ isn’t much better than a cheap parlour trick (Includes first-hand account)

    For those that dabble in the occult, there are generally strict rules that must be followed in order to prevent one side from harming the other. Not following these instructions is often the starting point for supernatural horror movies. In some cases it’s a simple oversight, but other times trouble is the result of someone haphazardly throwing caution to the wind and the rulebook with it. In Ouija: Origin of Evil, a family is so overwhelmed with the possibility of reconnecting with a deceased loved one they are oblivious to the evil they’ve unleashed.

  • Review: ‘Born to be Blue’ wants you to know there’s more to Chet Baker (Includes first-hand account)

    Great power may come with great responsibility; but great talent — that comes with heartache and temptation. Sex, drugs and, in this case, jazz are a way of life not easily avoided by artists. Whether you call it a weakness or a crutch, neither fully encapsulates the power these vices can have on a person. Chet Baker was one of the best trumpet players the scene had ever seen — and he knew it. But he was also convinced he was even better on the brass when he was high. As a result, Baker spent most of his career feeding a heroin addiction. Yet in contrast, Born to be Blue portrays a brief period in the musician’s life when he wasn’t always on the nod.

  • Review: This week’s releases play the cards they’re dealt

    This week’s releases include the return to a post-apocalyptic world; an exaggerated version of history; an enduring, righteous feud; the first adventures of a new USS crew; an unwelcome gift; a passionate amateur film crew; and a heist gone wrong.

  • Review: ‘Sisters’ not only seducing cops with their charm (Includes first-hand account)

    It’s at a snail’s pace, but things in Hollywood are gradually shifting in favour of female performers, characters and creators. Women directors are taking the helm and movies with all-female leads are appearing on the marquee more often. Statistics show films with these attributes perform well at the box office so hopefully studio-thinking will catch up with feminism sooner rather than later and start giving these projects the green light. In the meantime, it’s up to a select few to lead the charge. Tina Fey and Amy Poehler‘s Sisters is one of these pictures.