Tagged: Documentary

LFF 2019 #12: The Cave (Syria-Denmark-Germany-Qatar-US 2019)

The-Cave

Looking for God?

LFFlogo2019 A documentary set in an underground hospital regularly peppered with bombs and rockets: what’s not to like? It wasn’t as gruelling an experience as I expected because of the amazing fortitude displayed by the staff, particularly paediatrician and hospital administrator Amani Ballour. She not only has to deal with the patients, and the logistics of an under-resourced hospital in inhospitable circumstances, but also the ingrained sexism of some of her patients! The film celebrates the good in people even when they are victims of what can only be characterised as evil.

The ‘rights and wrongs’ in the world are possibly more blurred than ever as misinformation infiltrates information. The fact that this is a National Geographic presentation raises a question mark with me as America has a particular agenda in the conflict. Director Feras Fayyad was Oscar nominated for Last Man in Aleppo (Denmark-Syria, 2017), which I haven’t seen, that focused on the work of White Helmets. These appear to be engaged in criminal activities (this apparently was not the subject of Fayyad’s film); elsewhere it is suggested that they are victims of Russian propaganda . . . So although The Cave appears to be absolute authentic we should (always) be sceptical.

The documentary is primarily observational with occasional voiceover from Ballour. However, Fayyad’s use of sound is more in keeping with a fiction film as it uses a design that emphasises the immense cacophony of a military attack; brilliantly done – Peter Albrechtsen supervised 16 sound technicians according to IMDb . Matthew Herbert’s score, too, seeks to squeeze the emotion out of the spectator. These are both extremely effective but also leave question marks over the image, as if what we’re seeing isn’t enough to make us believe the terrible events. Similarly, the end credits state the film is based on Ballour’s diaries and so the observational rhetoric of the film is tempered by subjectivity; to what extent did Fayyad stage events recorded in Ballour’s diary? I’m not suggesting subterfuge (after all the source is credited) but The Cave is clearly not a straightforward presentation of Fayyad’s experiences.

Apparently 500 hours of footage was filmed, which took a year to edit. A chemical attack in Ghouma, that took place in 2013, serves as the climax. At least I think it was a chemical attack; again we must understand that misinformation is rife, for example the apparent chemical attack last year in Douma is highly contentious. I’m not saying the attack shown in the film didn’t happen; how can I know? All documentaries are representations of reality but what’s real in Syria is nebulous at best from the perspective of a cosseted westerner in a London cinema.

The observational stance the documentary takes means we learn nothing of the logistics of supplying food and medicines to the hospital. Though it is understandable why Fayyad rarely steps out of ‘the cave’, this means the film raises as many questions as it seems to answer. One telling line, from Ballour, is when she asks ‘is there a God?’ The same question had arisen in The Two Popes, that I’d seen a couple of hours earlier, with reference to the Argentinean military junta’s atrocities. The answer given by The Cave, as I read it, is ‘no’.

Hasta siempre (UK/Cuba 2005)

Shooting on the streets of Havana

Hasta siempre is a 57 mins documentary produced by an independent group in Brixton, South London, that enables ordinary people in Cuba to speak about their lives and their hopes for the future. The format of the film is very simple. After a brief historical background, utilising some newsreel footage, the main body of the film comprises interviews with a variety of Cubans. There is a historian and a psychologist (one of five siblings who have had professional careers in the years since the revolution) but also older people, mothers and children, youths and middle-aged people. Two things are striking about the interviews. Firstly, most of those interviewed are Afro-Cuban. This not surprising given that the filmmakers are (I assume) from Brixton’s African-Caribbean community (or have been chosen by Brixton producers). But it does mean that this documentary corrects the under-representation of Afro-Cubans in Cuban films generally. Secondly, the interviewees are not hand-picked as supporters of the revolution. Some are critical of current conditions – others very pleased for what they have got. The most telling interviews are those in which a youth first tells us all about the problems and just when you think he’s about to say that he wishes he was in America, he asserts that he never wants to be anywhere else but Cuba. Generally, the people interviewed seem very sussed and very aware of what is at stake in Cuba and what they would lose if the current situation changes. Even some of those who are critical recognise the realities of the situation. The main negative comment is that people can’t travel and visit the US, UK, Jamaica etc.

Overall, this is a limited view of aspects of Cuban reality, but I would recommend it as an informative documentary which made me more optimistic than pessimistic about the future for Cuban socialism. The DVD is available from Rice ‘n Peas and sells in the UK for £10 – you can see extracts from the film via the link. It’s available in other currencies as well.

This YouTube clip shows the start of the film (to get a sense of how the interviews work, go to the Rice ‘n Peas page above.