Showing posts with label National Geographic. Show all posts
Showing posts with label National Geographic. Show all posts

Friday, July 14, 2023

The Territory: The Battle to Save the Amazon Has Just Begun

By José Alberto Hermosillo

“The Territory” is a bold, award-winning documentary that bravely reveals the mystery behind the fires in the Amazon rainforest.

 

In 2019, many believed the destruction of the Amazon rainforest was caused by natural factors, such as dry seasons, as well as by climate change. However, behind those fires and deforestation were individuals in power—landowners, multinational corporations, and dangerous men with guns—who sought to take the land that had long belonged to the indigenous people of Brazil.

 

Intentional Fires in the Amazon, The Territory, Copyright © National Geographic 2022


During his political campaign, the Bolsonaro regime started hate speech against Brazil’s indigenous people: “There won’t be getting one more inch of the indigenous reserve land.” When the populist candidate won the presidency, his government did nothing to protect the land, the natives, the flora and fauna, and the endangered species.

 

The original story was revealed when Neidinha Bandeira, a forest defender and activist, received enough hate mail, death threats, and a kidnapping attempt, prompting her to send an urgent message about her safety and the area’s security to journalists around the world.

 

Director Alex Pritz, producer Gabriel Uchida & producer Sigrid Dyekjær. Photo by José Alberto Hermosillo.
Raleigh Studios, Hollywood.
Copyright © Festival in LA, 2022

In 2016, a friend of the award-winning Brazilian journalist and producer Gabriel Uchida advised him to cover and document the story of the fires and the full-scale warfare the natives endured to protect the rainforest. Since then, Gabriel has moved to Amazonian communities to continue his journalistic work and shed light on the reexamination of those tragic events.

Director Alex Pritz, producer Gabriel Uchida. Photo by José Alberto Hermosillo.
Raleigh Studios, Hollywood.
Copyright © Festival in LA, 2022

In New York, director Alex Pritz began conversations with elderly Indigenous people and, with their permission, documented their lives. Later, he became interested in filming Brazilian natives in their land. Their resilience, courage, and resistance motivated him to participate in the documentary.


Respectful of indigenous cultural identity, Alex Pritz avoided exploiting the natives’ land, culture, or language, recognizing that white settlers had taken so much from them, including their land. White people assumed ownership of the indigenous narrative and traditions.


The Territory, Copyright © National Geographic 2022

After a devastating fire, Neidinha questions the conscienceless actions of those who acted illegally and the massive environmental damage they have inflicted on humanity. She also requests safety for the Uru-eu-wau-wau people and wonders how many more must die to protect the rainforest.

 

Alex Pritz’s subtle camera work is outstanding. His footage ranges from tiny insects to aerial shots of the Amazon. He shares cinematography credits with an insider, Tangãi Uru-eu-wau-wau.

 

Alex Pritz reached out to the Invaders, comparing his personal experience and the white trespassers in Brazil with American colonialism, which often sees itself as heroic without understanding its actions.


It took three years to produce the documentary, and the challenges were significant. The crew often had to drive 6 to 12 hours to reach remote locations, especially during the rainy season.

 

Editor Carlos Rojas presents the film in a natural flow, allowing viewers to follow each character as their struggles and hopes unfold. The transitions are seamless. However, maintaining visual balance among all storylines is essential. The excess expository dialogue reduces the emotional impact of this already powerful film.

 

Katya Mihailova’s music is unforgettable. She exudes positivity, and her lively rhythms heighten tension during dangerous scenes. To showcase each character’s uniqueness, the composer gave each a distinct score, enhancing the sounds of the frontier and rainforest.

 

Renowned director Darren Aronofsky (“The Whale,” “Black Swan,” “The Wrestler”) also participated, along with Sigrid Dyekjær (“The Cave,” “Food and Country”) and Gabriel Uchida from the outstanding production team, providing full support and control to director Alex Pritz.


The Territory, Copyright © National Geographic 2022

Knowledge empowers people. Therefore, Amazonians must document every incursion, intentional fire, and attempt on their lives using cameras, drones, computers, and social media as tools against the invaders. Now, they can send the material directly to news broadcasters and engage more people in helping protect Brazil’s indigenous lands.

 

Director Alex Pritz, producer Gabriel Uchida, film critic José Alberto Hermosillo & producer Sigrid Dyekjær.
Raleigh Studios, Hollywood.
Copyright © Festival in LA, 2022

Fans of President Bolsonaro learned about the making of the film, how the documentary empowered native communities, wanted the filmmakers out of Brazil, and sent death threats to their phones, emails, and homes.

 

During its three-week theatrical run in Brazil, “The Territory” received a strong response from locals, with half of the audience coming from indigenous communities.


“The Territory” is a highly recommended documentary nominated for three Primetime Emmy Awards, including Exceptional Merit in Documentary Filmmaking, Outstanding Cinematography for a Nonfiction Program, and Outstanding Direction for a Documentary/Nonfiction Program. It is now streaming on Hulu.


The National Geographic/Brazilian co-production won the Audience Award and the Special Jury Award for Best Documentary at the 2022 Sundance Film Festival. It also received the Cinema for Peace Award and Best Documentary at the Zurich Film Festival.


The Territory | Official Trailer | National Geographic

Director Alex Pritz, producer Gabriel Uchida & film critic José Alberto Hermosillo.
Raleigh Studios, Hollywood.
Copyright © Festival in LA, 2022

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Wednesday, November 6, 2019

The Cave: An Underground “Elysium” for Children in Syria

By José Alberto Hermosillo
The Cave poster. National Geographic ©2019

“The Cave” is a remarkable, powerful, and shocking documentary featuring stunning firsthand material that will leave you uneasy about the Syrian war and hopeful about the people who make a difference. An undeniable Oscar contender.

This National Geographic presentation will tear your heart out until the end, with some praiseworthy moments for hope.

The Cave, an air attack in Syria. National Geographic ©2019

“The Cave” opens with relentless airstrikes and bombings by powerful Russian warplanes in an already destroyed city of Ghouta, near Damascus, Syria. Those impressive images seem to come from a Hollywood movie with special effects and loud recorded sounds. But no, it is the cruel reality of war. 

While watching those catastrophic events on the screen made me think, what if the same airstrikes could happen in New York, Los Angeles, London, or Moscow? What if America suffers the same fate as Syria? Of course, we don’t have a totalitarian regime like the Syrian government or ISIS. Still, if we place ourselves in the shoes of others, we can begin to feel a little empathy for the Syrian people.

Passing the arresting opening sequence, we are welcomed to the first Syrian underground children’s hospital managed by a Muslim woman. The impoverished institution survives thanks to the efforts of Amani Ballour, a young female pediatrician who leads a team of doctors, nurses, and volunteers in helping wounded children.
Feras Fayyad, director of “The Cave.” Photo: José Alberto Hermosillo. Festival in LA ©2019

The filmmaker, Feras Fayyad, had his first Oscar nomination last year for “Last Men in Aleppo.” It is a compelling documentary about the White Helmets, a group of first responders working dangerously in the fields, removing landmines, and protecting children. 

Now, Fayyad bravely takes us underground - to another, more chaotic place called “The Cave.” A subterranean hospital that not only deals with limited resources to attend wounded ones but also with the omnipresent sexism against women.

Before shooting his first film, Fayyad was subject to an unlawful arrest. He remained in jail for eighteen months, tortured, like many of his countrymen. In Syria, thousands disappeared in the hands of the totalitarian regime.  

When he was able to leave Syria, he kept in contact with his Cinematographers, Muhammed Khair Al Shami, Ammar Sulaiman, and Mohammed Eyad. The photographers continued to document every injustice, wrongdoing, and foreign intervention with their cellphones and tiny cameras, and compiled those powerful images into compelling films.

“The Cave” is Feras Fayyad’s latest approach to the unresting situation in Syria. The subjects he chooses have meaningful and complex stories to tell. Fayyad confines his characters in place and time, following them in their natural environment to bring about intimate and cathartic moments beyond that bloody war.

Fayyad grew up in a family of seven vigorous women, where he learned to respect them and appreciate the work they do for their families. 

When the award-winning director heard about a female pediatrician in charge of an underground children’s hospital, he wanted to meet Amani right away and be able to tell her story on the big screen. Her profile fulfilled other vital topics Fayyad had not touched on in his previous films.
The Cave. Doctor Amani Ballaur. National Geographic ©2019
Very few women work in the medical field in Syria and other Muslim countries. When Fayyad met Amani, he knew he had found his main character immediately. A woman doctor barely in her 30s, Amani, is in charge of this ragged underground hospital. Guiding a devoted staff of men and women, Amani has the strength and courage to continue her journey of helping those in need.
The Cave. Doctor Amani Ballaur. National Geographic ©2019
Amani left everything behind: her family, medical studies, and the city where she grew up to do a job nobody could. For conviction, she went to work in the war zone and took a position that deals with the implicit harassment of the machismo of a society that does not understand that a woman can do the same job as men. She made a difference by saving thousands when her life was at stake.
Doctor Amani Ballaur features in the documentary The Cave.

“The Cave” captures powerful and conceptual images of people suffering the calamity of war. The filmmakers have to go through more than 500 hours of footage. They carefully select the most critical and meaningful shots, presenting, honestly, the experiences of people caught in the middle of the conflict who need assistance. The audience may consider gruesome or terrifying dramatic scenes, mainly about the chemical attacks on children. The filmmakers also show other brutal images of children with malnutrition, cancer, and physical and mental abuse because they can’t hide the truth inside “The Cave.”
 
Under extreme circumstances, we can find decisive moments of hope and happiness, like a pinched birthday party celebration or why Amani makes a “
liberal” and valid question about why people have children in wartime.
 

In the operating room, a surgeon uses his cell phone to play classical music to soothe the pain of the wounded people and ease the tension among his working team. Syrian hospitals have no anesthesia or other medical supplies to mitigate the pain and must rely on what they have. By juxtaposing Russian classical music inside the hospital, the filmmakers enhance the cinematic experience and the symbolism, considering that Russians can compose beautiful music and build warplanes that kill thousands in no time. 

The conflict in Syria is part of the Arab Spring, which began with small and peaceful student protests and graffiti against the government. The ongoing situation involves more parties and interests, and more innocent victims suffering. 

The Bashar al-Assad regime, supported by the Russian army, targets thousands of children, women, and civilians. Six million people have been displaced, and 10,000 are still in jail. 

The problem goes global when crimes against humanity occur in Yemen, Jordan, and other countries. Those conflicts are bound to dogmatic governments, religious beliefs, and crude oil production. People need to acknowledge the unsettled situation in Syria and take action to help bring peace to this senseless war.

“The Cave” has won many recognitions, including the People’s Choice and Best Documentary awards at Valladolid, Jihlava, Camden, and Toronto festivals. That pedigree made out of “The Cave” is one of the top contenders to reach an Oscar nomination. 

“The Cave” is an enormous achievement in filmmaking, a transcendental critical chronicle worth its challenging filming conditions. And a shout-out to the world about Syrians’ resilience to remain in their country stoically.
The Cave - National Geographic trailer
Doctor Amani Ballaur features in the documentary The Cave.
Feras Fayyad, director of “The Cave.” Film critic José Alberto Hermosillo. Festival in LA ©2019
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