Tuesday 22 January 2013

REVIEW - 5 BROKEN CAMERAS


A focus on the lives of the innocent during wartime unburdens this documentary from the challenge of depicting its story with balance. Composed solely of camera footage from Emad Burnat's documentation of his own life, and those of his friends, family and neighbours in a Palestinian town close to an Israeli separation barrier, the validity of the images is irrefutable, and, wisely, no slant is attributed to the footage. The violence of the Israeli soldiers is clear, as is the (mostly) non-violence of the Palestinian civilians. 5 Broken Cameras does not attempt to share the perspective of the aggressors - how can it, as it is only this one man's perspective that can be shared; these are his cameras, and this is his life. Thus, claims of bias are unsustainable. He is an innocent farmer, existing as best he can in the face of oppression and violence, and this is what we witness. No doubt there are equally touching stories of innocent Israelis whose lives are disrupted and whose rights are abused by the other side, but this is not one such story. It is what it is, and thereby condemns only those who condemn themselves through their actions, as caught on camera. Burnat's footage is extensive enough that efficacious editing has generated a strong narrative for the film, with insight into his family life, and the effects of the war on the town and its inhabitants. It is often a sad film, with plot progressions that would befit a fictional recreation, yet which, as fact, harbour much more meaningful emotive power.

2 comments:

  1. As a result of this splendid and glowing review I have just now added this title to the very top of my netflix queue, though the unwelcome icon "a very long wait" has accompanied my request. I am supposing it was just released on DVD. Despite my torrid pace of seeing films in theaters, for some inexplicable reason I ignored it's May 2012 opening, at a time when I was busy with a retrospective. You paint a compelling and moving story of injustice here, with a seeming elegiac undercurrent, and I've just read further that the footage is spread over a period of time, almost recalling some of Apted's past work (if I am reading this right). Very fine piece here, and the 3.5 rating has not escaped me.

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