James Longley’s Iraq in Fragments is a meditation on chaos and coping, with its focus intently on Iraqis. From a close-up of 11-year-old Mohammed’s eye, looking out on city streets, to a long view of young Kurdish shepherd Suleiman, silhouetted by a setting sun, the documentary offers a range of views and reactions to the US occupation of Iraq. As interviewees struggle to imagine a future beyond the current, daily horrors, they are at once alike and disparate, furious and hopeful, resilient and outraged. The film provides specifics, details of hectic life among ruins, faces filled with dread, desire, and defiance. Whether looking out on empty streets or endless fields in Kurdistan, the film creates a sense of space. Whether cramped or expansive, the compositions are alive with movement, color, urgency. Marchers, worshippers, workers, men with guns: they all suggest that the film has only scratched a surface.