This extremely powerful 89 minute film presents comprehensive documentation from United States Government archives of a massive cover-up, including military and civilian experimentation, ... See full summary »
Is American foreign policy dominated by the idea of military supremacy? Has the military become too important in American life? Jarecki's shrewd and intelligent polemic would seem to give an affirmative answer to each of these questions.
Iraq in Fragments illuminates post-war Iraq in three acts, building a picture of a country pulled in different directions by religion and ethnicity. Filmed in verité style with no scripted narration, the film explores the lives of ordinary Iraqis to illustrate and give background to larger trends in Iraqi society. Written by
300 hours of material was filmed in Iraq over a period of more than two years for this production. 1600 pages of typed transcripts, translations of material from Arabic and Kurdish, were made before picture and sound editing could begin. See more »
Iraq as refracted in practically all American media is not Iraq per se, but America in Iraq. "Gunner's Palace," for instance, isn't about Iraq, but about how some metal-head American soldiers experience it. The so-called "news" about Iraq is served up by a press core which barely ventures outside the Green Zone, let alone Baghdad. Which is what makes this movie so outstanding.
You sit there and wonder, "How did they ever get this footage?" Gunfire pops in the background, buildings burn, women and children run for cover. You're thrown into the midst of al Sadr's mobs, self-flagellating to the point of drawing blood, droning in unison like a headless monster, and descending on a market, beating the men in its path indiscriminately. It's so raw, so unedited, so slice-of-life, in other words, utterly unlike the self-referential media-for-media's sake, the prepackaged rant and cant of news-speak served up daily by the likes CNN, NPR, and the NY Times.
The movie has a well-thought out unity, a message not reducible to the congealed positions of the media, thus invisible to it. One unifying theme, for example, is democracy, vilified by the Islamisists, dreamt about by the Kurds. But because there's no narration, no talking heads, the connections come unannounced, naturally, as in life.
The disparate lives of children, Sunni and Kurdish, bookend the movie, start and end it. The children speak in unadorned poetry.
Please, by all means, seek out this film, see it for yourself, if possible without preconception, and make up your own mind.
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