iraq in fragments
an 11 - year - old named mohammed with his boss in baghdad, as seen in iraq in fragments. 
an iraq that you haven' t likely seen before... stunning
iraq in fragments is an in - depth marvel
- - new york magazine
james longley' s
iraq in fragments ,
filmed in iraq and edited at seattle' s 911 media arts center, won directing, cinematography and editing awards at the sundance film festival .
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 .
' iraq in fragments' is a beautifully filmed biography of a country on the verge of civil war .
- - peter byck, lousiville courier - journal
capturing post - war iraq in three chapters, iraq in fragments focuses on the lives of individuals to tell a larger story of a country torn apart by war and ethnic division. iraq in fragments was nominated for an academy award for best documentary feature and an emmy for best cinematography. the film was honored with awards at the sundance film festival for best documentary directing, editing, and cinematography. iraq in fragments received top prize at the chicago international film festival, full frame film festival, the gotham awards, the ida awards, and won the nestor almendros award at the human rights watch film festival. iraq in fragments was included in the guardian' s list of 50 documentaries you need to see and paste magazine' s 25 best documentaries of the decade (2000 - 2009) .
robert greenwald looks at war profiteering in iraq by private contracting companies halliburton, caci, and kbr .
watch the evening news and you get a view of iraq from high above the wreckage. in this fascinating doc, director james longley shows us how things look on the ground. iraq in fragments presents a tri - fold, intimate portrait of a country in turmoil, via a fatherless eleven - year - old boy in baghdad, supporters of religious leader moqtada sadr in naserijah, and an elderly farmer in the kurdish north. their voices amount to a revelation .
the question of legitimate authority — and the related question of what, in this fragmentary country, democracy might look like — hovers over the other two sections of “iraq in fragments, ” which deal with militant shiite followers of moktada al - sadr in nasiriya and najaf, and then with kurds living in a village outside of erbil .

iraq in fragments
is the latest entry in the crowded field of documentaries from that war. it is also one of the best, partly because it is more concerned with exploring daily life and individual destinies than with articulating a position... . whether you think the war is right or wrong ,
iraq in fragments
is a necessary reminder of just how painful and complicated it is .
- - a. o. scott, the new york times
a doc that shows iraq in three parts, through the eyes of the sunnis, shiites and kurds .
stories from modern day iraq as told by iraqis living in a time of war, occupation and ethnic tension .
an elderly kurdish man, speaking in james longley’s documentary “iraq in fragments, ” predicts that his country will inevitably be divided into three parts. a few moments later an unseen child’s voice casts doubt on that prophecy and asks how you cut up a country. “with a saw? ”
two films with pacific northwest roots won awards over the weekend at the sundance and slamdance film festivals in park city, utah. james longley' s documentary
iraq in fragments ,
filmed in iraq and edited at seattle' s 911 media arts center, won three awards at sundance. longley was honored for best directing and best cinematography, and billy mcmillin, fiona otway and longley for best editing (a new award this year), all in the documentary category .
a pakistani involved in a planned attack in new york city experiences a crisis of conscience .
it was a great shock, a huge honor ,
said longley monday of his film' s sundance success. he' ll be travelling with his film over the next few months, at several international film festivals, but is looking forward to the seattle premiere .
iraq in fragments
will be the opening night film at the seventh annual seattle arab & iranian film festival on march 31, screening at cinerama. festival director john sinno is the producer of
iraq in fragments .
longley' s previous documentary ,
gaza strip ,
premiered at the festival in 2002 .
a trilogy of stories from iraq, set against a backdrop of war and occupation .
since “iraq in fragments” was finished, the fragmenting of iraq appears to have accelerated, but the film is not easily summarized as a text of hope or a brief for despair. it is instead an invitation to look again and afresh at a country many americans may be tired of thinking about, and to be reminded of the complicated human reality underneath the politics .
arriving in theaters today after being shown at several festivals, including sundance, “iraq in fragments” feels both timely and prophetic, given the current levels of sectarian violence. but even as mr. longley glimpses the sources of that division, he does so in a way that is remarkably contemplative, at times even serene. that is partly because his narration is supplied by iraqis who use their conversations with him to reflect and philosophize .
the film is also a part of the iraq media action project film collection. it was nominated for an
in this sense, a' public' is a group of people bound together by a common disposition. documentaries play an important role in filling gaps left by the media. aufderheide says
iraq in fragments
represents a form of documentary which constructs an ideal public, which she calls a' pre - political public' or a' proto - public' - one in which the viewer is posited as a global citizen, by understanding that there is a problem, which is a prerequisite to any action taken toward a solution .
a comprehensive look at the bush administration' s conduct of the iraq war and its occupation of the country .
twenty - two year old corporal jonathan santos had documented his thirty - seven days of military service in iraq in a personal diary before a roadside bomb took his life and the lives of several of his feloow servicemen on october 15, 2004 .
i read about this film in an informative article by patricia aufderheide ,
your country, my country: how films about the iraq war construct publics
( citation below) .
a documentary providing insight to the complexity of iraq and its future .
- - sally barnes, boise weekly
ames longley' s outstanding documentary - portrait of ordinary lives in post - invasion iraq has a structure and procedure that imitate its underlying political point: iraq is fragmented. broadly speaking, there are three fragments, and this is a reality with which the political classes here and in the united states are becoming acquainted. in the centre: the sunnis, from which group saddam and his followers sprang. in the south: the shias, depicted by longley as the centre of a retributive new militancy. in the north: the kurds, who welcomed the american and british military action as the antidote to their oppression - and still do so. boldly, longley' s film gives the kurds the final voice, and the overall effect is far from boilerplate anti - americanism .
ajami is the religiously mixed community of muslims and christians in tel aviv. these are five stories about the everyday life in ajami .
i really liked the time - speeded sequence of the train leaving southern iraq and then we lurch into fast motion, the perspective switches from looking backward to looking forward, and we zip across the country in a few seconds into northern iraq, where longly hooks up with a kurdish family. i just found a speed manipulation tutorial on ken stone’s final cut site that explains in detail, complete with project files, how to do this effect in final cut pro 7 .
behind the heroic tale of the first us soldier to die in the iraq war, emerges the story of a one - time guatemalan street child, drawn into battle as a greencarded soldier for a foreign country .
the title seems to refer as much to the filmmaker’s method as to the content of his film, which is lyrical and impressionistic. rather than focus on the experiences of american soldiers, as did michael tucker and petra epperlein in “gunner palace, ” or follow the expanding shelf of books that discuss the background and consequences of american military policy, “iraq in fragments” dwells in the hectic immediacy of daily life. from 300 hours of material, mr. longley has created a collage of images, sounds and characters, an intimate, partial portrait of an unraveling nation — a portrait that gains power partly by virtue of its incompleteness .
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it' s exhilarating, at first, to feel oneself immersed in these lives. what emerges, though, is a moving portrait of the many and tangled human implications of the invasion. in baghdad, mohammed struggles with his school work as us helicopters low - fly overhead and says
everything is scary now ,
; but kurdish farmers in the north breathe easier with saddam gone. meanwhile, inhabitants of naserijah fear the islamist followers of sadr will constitute a new oppression. iraq in fragments is a timely reminder that after all the talk of dodgy dossiers, death tolls, and exit strategies, there remains only the fact of daily life for ordinary iraqis, and their attempts to live it as best they can .
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 .
( 1968) may be the only major documentary about vietnam that actually considers the vietnamese, this film allows the people of iraq to speak, and what they say is fascinating throughout. in kurdish and arabic with subtitles. 94 min .
beautifully shot, well - edited and gives you a picture of iraq that you' ve never seen before .
- - john powers, fresh air
the film examines the everyday lives of iraqi citizens in a country torn by political and ethnic differences, including an 11 - year - old auto mechanic, an elderly farmer and a leader of the shiite religious / political movement headed by muqtada al - sadr. longley, an oregon native who grew up in the san juan islands, captured more than 300 hours of footage in iraq, between february 2003 and april 2005 .
an abstract political short film commissioned by amnesty international in reference to international relations and arms trade .
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what’s incredible about this oscar - nominated film is that it appears to have been made almost singlehandedly by a lone white guy, james longly. he was born in eugene, oregon, but apparently hasn’t spent much time there over the past several years. instead, he’s been living in places like iraq (where he spent 2 years making this film); iran (where he was arrested during the election last year), and he’s currently doing more of the same in pakistan .
but in the end, my mind kept going back again and again to that small boy in baghdad, who is at first trusting and accepting, and then coldly angry about what life has given him. with discretion and subtlety, longley has created a narrative for the child without it seeming artificial or absurd. this alienated, orphaned figure becomes a metonym for iraq, a tragically divided nation .
in a series of stunningly filmed sequences, longley and his camera seek out the real lives outside the frame of conventional tv news, and he succeeds in creating both compelling journalism and superb images. in baghdad, he finds a heartbreakingly lonely 11 - year - old orphan, apprenticed to a tough garage owner who has taken him in. this man appears at first to be affectionate to the boy in his rough and ready way, and the child' s hesitant voiceover pays a kind of cowed tribute to how kind he is; and yet soon the man is cuffing him and shouting at him, and in the course of the film, the boy' s feelings become something altogether different. in baghdad, in the cafes and streetcorners, the cynical talk is of how things were actually better under saddam - although these sentiments may have been disproportionately amplified .
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mr. longley, who captured the images in this haunting, oblique film during trips to iraq between february 2003 and april of last year, offers no ready answer to that question or any other. his is not the kind of documentary that presents an analysis or argues, even implicitly, for a particular point of view .
the first thing that struck me, as a filmmaker, about this extraordinary film is the way the opening sequence was shot – in fragments – by simply pointing the camera out of a vehicle traveling down the street with a fast shutter speed of maybe 250 / second, which gives you a stuttering sequence of still frames strung together. it’s a technique popularized by hollywood films like saving private ryan and traffic, and it works extremely well here to show that we’re entering a chaotic world .
in beautifully shot, almost poetic images, it takes us inside this fractured country, letting us feel what its like from the inside from three points of view - - sunni, shiite and kurd... . a fascinating glimpse of an iraq the mass media never shows us, the movie is a quiet revelation .
- - david ansen, newsweek
in seattle. this film has three parts to it which describe the viewpoints of sunni, shi' ite, and kurdish residents .
a former american boxer now exiled in bangkok, is forced to confront his violent past after meeting a mysterious fight fan from his hometown .
where it won three awards :
directing award documentary
,
editing award documentary
and
excellence in cinematography award documentary
.
there are a lot of very briefly held, beautiful, almost still shots edited in liberally throughout the film. it reminded me that you don’t have to always be thinking in terms of sequence – just shoot something pretty even if it’s a couple seconds – you can find a place for it in editing. also, he uses whip pans really effectively as a transition at once point, panning quickly away from a child’s face and holding the blurry transition until dropping in the next clip. whip - panning off someone’s face is a dramatic and powerful way to initiate a transition, and you don’t have to come to a sudden and precise stop on something else within the camera for it to be extremely useable in editing .
the first section of the film focuses on mohammed, an 11 - year - old boy who lives in a working - class sunni neighborhood in baghdad, where he is employed by a mechanic whose main activities seem to be smoking cigarettes, talking politics and humiliating his young helper. at first glance the relationship between mohammed and his boss, a father figure whom the boy seems to love in spite of the mistreatment, has little evident connection to the larger situation in the country. but mohammed’s fearful, adoring attitude toward his employer comes to seem like a miniature parable of life under a dictatorship .
chechen
godfather
khozh - ahmed noukhaev makes for a fascinating and charismatic (if troubling) subject in this documentary about the complicated politics of the region .
there’s a shot early on in the film that i won’t forget for a long time: a sketchy street seen through a fish tank in which a pair of breathtakingly orange goldfish are floating. the contrast is unbelievable. it’s just an incredible shot that, if you got it, it has to go in the film. reminded me that no matter where you are, keep your eyes open for things that don’t to fit within the paradigm of everything else you’re keying on .
) has a flair for cinematography and editing and a poetic sensibility that informs both these talents. he' s also responsible for this film' s music. but the most significant credits for this examination of iraqi sunnis, shiites, and kurds may be the dozen translators listed. (“the future of iraq will be in three parts, ” says one kurd. “how can you cut a country into three parts? ” asks another .) much as emile de antonio' s neglected
portrays the problems of postwar iraq solely as a consequence of the invasion - but gives no historical context of what iraq was like before 2003. by highlighting the mistakes of the us occupation the film becomes an anti - war polemic - at the price of being historically thorough and offering real insight into the country' s current situation .
this
, viewers are meant to conclude ,
is what the invasion led to - terrorism, sectarian hatred, constant fear and misery .
the cruelty of saddam' s regime is dismissed as irrelevant, as if there were no link between totalitarian rule and the strife that has followed .
after such chaos, the kurdish region looks downright pastoral, though there is a scene of voting - day chaos in which police scuffle with some voters, while poll workers patiently tell others which party to vote for. although everyone in the film expresses a desire for normalcy and peace, the kurds seem closer to achieving it than their fellow citizens .
the most significant filmmaker take - away from this film is that it’s possible to include interviews in your film without including interviews. i’ll explain. in the first two - thirds of the film, at no point does the voice of the person being interviewed match with an interview happening on screen. yet, we’re often seeing the person who is talking – only in different (but frequently related) situations. for example, the first person we get to know in the film is a young boy, who works for an abusive boss at a small car and motorbike repair shop. we hear the boy’s voice for a long time before we actually meet the boy, and when we meet him, it’s not in an interview context. he’s essentially giving us a voice - driven commentary about how awful his boss is, while at the same time we’re actually seeing how awful his boss is .
longly doesn’t hide the fact that the huge pillar of black, boiling smoke rising in the background of many of the scenes in the final third of the film is actually coming from a foundry, rather than from the result of war violence. but it works as a great metaphor. so does the snowball fight that he films, again with fast shutter speed .
not a moment from these sunni, shiite and kurdish daily lives is familiar from u. s. news programs, and it' s all eye - opening .
- - in these times
eliezer and uriel shkolnik are father and son as well as rival professors in talmudic studies. when both men learn that eliezer will be lauded for his work, their complicated relationship reaches a new peak .
cinema politica is the largest campus and community based documentary screening network in the world. we are a montreal - based non - profit media arts organization dedicated to the dissemination of independent political works by canadian and international filmmakers .
i about fell over when i saw basil shadid’s name come up in the credits as the post - production supervisor on this film. i know basil from having hired him to film the second bizjam conference we did a few years ago. more recently, he earned an additional camera credit on shine for filming interviews at the may 6 event. nice work basil! i’m proud to know someone who played a role in making this incredible film .
james nachtwey, a committed, shy man, considered one of the bravest and most important war photographers of our time, has been close enough for over 20 years - a period in which he has not missed a single war .
wow. what a film; it portrays the consequences of the iraq war at the level of ordinary, everyday life for the people and, especially, for small children. we americans probably will not want to view this film. why would we, it will just make us feel stupid and ashamed of ourselves. thankfully, the film was made anyway. watch it, learn from it, be wary the next time .
... a one - man production of startling audacity and aesthetic provocation... . if longley' s astonishing feat of poetic agitation has a precedent in the entire history of documentary, i' m not aware of it .
- - rob nelson, the village voice
in the south, the shias are electrified by the historic opportunity that has opened up for them, and vigorously prosecute their new islamic revolution; we see them loudly declaiming the great satan uncle sam and brutally arresting people on suspicion of selling alcohol, a suspicion that does not appear to have much relation to due process of law. these people appear drunk with righteousness, and again, the dark talk is of a rampant new saddam - ism. then there is a gentle, pious kurdish man who sadly reflects that his people' s religious identity has left them out of step with the fierce new flame of anger burning elsewhere in the country .
this is an extremely effective way to include interviews without forcing the audience to sit through predictable visuals. they are actually seeing what happens next at the same time as hearing what they need to hear to flesh out the story details. it’s brilliant. it’s a seamless combination of cinema verite with traditional documentary storytelling, and in this film at least, it’s effect is spellbinding. it doesn’t hurt that the kid is mostly silent through these ordeals, so there’s room for us to hear him explaining things. but the technique also works pretty well in part 2 of the film, when longly manages to get himself embedded with muqtada al sadr’s militia during a tense period when most us journalists were getting embedded with us troops .
approaching the film from this angle, i did find what felt like profound and refreshing moments of pure objectivity. longely highlights the confusion that results from many shifting pillars of leadership vying for a vacant office and amorphous regime, as well as how the turmoil effects once - hopeful and ambitious youths, causing them to turn away from education in exchange for seemingly more immediate needs .
directed by james longley; in arabic and kurdish, with english subtitles; director of photography, mr. longley; edited by billy mcmillin, fiona otway and mr. longley; music by mr. longley; produced by john sinno and mr. longley; released by typecast releasing and hbo documentary films. at film forum, 209 west houston street, west of avenue of the americas, south village. running time: 94 minutes. this film is not rated .
even the credit roll of this film is worth mentioning. credits rolled out from right to left – rather than the traditional bottom to top – which is the same way people in the arab world read. james longly’s name entered the screen like an arrow, dragging all of the key roles behind him, carving a solitary path through the black screen and pulling the rest of the crew, which contain a raft of translators behind him. how the hell do you make a film like this with everything filtered through translaters ?
there is no grand editorialising, here; instead, longley lets his subjects tell their own stories. so we so follow 11 - year - old mohammed into work at a mechanic' s garage, where the owner, haithem, says the us invaders are motivated only by oil. we ride with armed islamists in naseriyah as they purge alcohol sellers from the local market, and organise local elections meant to push out us - appointed officials. and we live with a rural kurdish father who dreams of peace and hopes his son might become a doctor .
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at slamdance, seattle writer / director lynn shelton' s feature
we go way back
won two prizes, including the top one: the grand jury award for best narrative feature, for which shelton will receive a camera rental package valued at $ 60, 000. cinematographer ben kasulke won the kodak vision award for best cinematography. shelton' s film, about a young actress who confronts her teenage self, was produced by seattle' s nonprofit film studio the film company, based on capitol hill .
slamdance, positioned as an alternative to sundance, focuses on new independent filmmakers. its 2005 opening night film ,
mad hot ballroom ,
later became one of the year' s documentary hits .
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the shiite section, narrated mainly by a thoughtful young cleric, sheik aws al - khafaji, is full of images of sectarian commitment that verge on the fanatical. young men at a religious procession flog themselves with chains; others, their faces covered, converge on an outdoor market, where they beat and detain suspected vendors of alcohol, who accuse their attackers of being new saddams .
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intimate and provocative... longley' s sensitive eye for imagery and graceful camerawork... gives the film a beauty rarely seen ...
- - seattle post - intelligencer
highly recommended; a beautifully shot, fascinating and informative portrait... a searing vision of this historical miasma .
- - time out london
a patient, lyrically photographed, closely observed meditation that pays calm attention to aspects of sunni, shiite, and kurdish daily life .
- - entertainment weekly
the most lacerating and complex american doc so far about the war over there .
- - eye weekly
it is a superbly made film, pessimistic but not simplistic. longley' s footage of baghdad streetlife is outstanding: he seems to capture stunning images everywhere he looks, just by pointing the camera, a dozen scorching pictures every minute, rendered hyper - real on high - definition video. it looks like an imaginary landscape from some impossibly violent and traumatised futureworld, from which the director reports back with something other than the tv newsman' s redundant rhetoric of sensation or forced compassion .
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winner of the documentary
directing
and
cinematography
awards at the 2006 sundance film festival .
directors michael tucker and petra epperlein turn their focus on america and follow u. s. soldiers home as each struggles to define their wartime experience .
based on mosab hassan yousef' s bestselling memoir son of hamas, the green prince exposes a complex world of terror, betrayal, and impossible choices .
excellent, immediate and believable based on multiple accounts and experience talking to iraqis .
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hotel transylvania 3: summer vacation stars plan their dream summer getaways to some memorable movie settings .
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a documentary featuring interviews with all surviving former heads of shin bet, the israeli security agency whose activities and membership are closely held state secrets .
richard macedo, is a young mexican - american businessman from orange county whose life is changed over the course of one night through a series of off beat encounters with the denizens of mexico city .
a documentary on a palestinian farmer' s chronicle of his nonviolent resistance to the actions of the israeli army .
an investigative documentary about the epidemic of rape of soldiers within the us military .
pat tillman never thought of himself as a hero. his choice to leave a multimillion - dollar football contract and join the military wasn' t done for any reason other than he felt it was the... see full summary »
this candid new york love story explores the chaotic 40 - year marriage of famed boxing painter ushio shinohara and his wife, noriko. anxious to shed her role as her overbearing husband' s assistant, noriko finds an identity of her own .
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/ 93' / arabic - kurdish / s. t. english - french
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longly used a panasonic dvx 100 while making this film, the standard - definition precursor to the panasonic hvx 200 (which we used to shoot virtually all of shine). the highlights are frequently blown out, and it lacks hd clarity, and there’s a lot of mic handling noise during some of the militia scenes. but none of that matters a bit, because the story is so damn compelling. the film is a solid reminder that the story and the person behind the camera is always more important than the equipment .
i found myself wondering if longly used a glidecam or something like a steadicam merlin for some of his traveling shots. they weren’t rock steady, but they were smoother than i could have hand held .
i really liked the brief time - disolve of the school teacher herding students down the hall. it’s a great way to convey time passing slowly for the child throughout the school day. and you don’t have to do a lot of these to call attention to them – i thought this was truly judicious use of these techniques which can otherwise call a lot of attention to their use .
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iraq in fragments is a documentary film directed by james longley . longley shot the film in digital video on a panasonic dvx100 minidv camcorder . the film premiered at the 2006 sundance film festival where it won three awards : " directing award documentary " , " editing award documentary " and " excellence in cinematography award documentary " . the film is also a part of the iraq media action project film collection . it was nominated for an academy award for best documentary feature . the film was shot in iraq and edited at 911 media arts center in seattle . this film has three parts to it which describe the viewpoints of sunni , shi'ite , and kurdish residents . 
iraq in fragments is a documentary film directed by james longley. longley shot the film in digital video on a panasonic dvx100 minidv camcorder. the film premiered at the 2006 sundance film festival where it won three awards: " directing award documentary ", " editing award documentary " and " excellence in cinematography award documentary ". the film is also a part of the iraq media action project film collection. it was nominated for an academy award for best documentary feature. the film was shot in iraq and edited at 911 media arts center in seattle. this film has three parts to it which describe the viewpoints of sunni, shi'ite, and kurdish residents.
iraq in fragments is a documentary film directed by james longley. longley shot the film in digital video on a panasonic dvx100 minidv camcorder. the film premiered at the 2006 sundance film festival where it won three awards: " directing award documentary ", " editing award documentary " and " excellence in cinematography award documentary ". the film is also a part of the iraq media action project film collection. it was nominated for an academy award for best documentary feature. the film was shot in iraq and edited at 911 media arts center in seattle. this film has three parts to it which describe the viewpoints of sunni, shi'ite, and kurdish residents.