“I was always a good soldier,” remembers Robynn Murray. “She could always carry a heavy ruck,” she says of herself, “And she’s the one they wanted female soldiers to look up to, because I could suck it up and I could take their sexual harassment and I could just shut up and drive on.” The pronoun changes make sense as you listen to Robynn describe her experiences in the U.S. Army—first in Iraq and now Stateside, as a veteran contending with post-traumatic stress and red tape. Every day is an ordeal. “I’d like to say I’m super, but I’d be lying” she tells a collections agency officer on the phone at the start of Poster Girl, Sara Nesson’s exceptional short documentary, premiering 9 November on HBO2. As Robynn works through her memories and her ongoing struggles with the VA, the film shows how she’s affected by PTSD and also, crucially, how she finds strength and a sense of resilience in her art. If trauma is never quite over, Robynn is increasingly able to articulate and share her experience: she engages in protest against the war and discovers a community among other veterans—specifically, a group called Combat Paper Project that makes art out of old uniforms—Poster Girl makes the case that, as extraordinary as Robynn may be, she’s also too typical. She may have been a poster girl, literally appearing with her weapon and two women comrades on the cover of Army Magazine, but she’s also come out the other side.
// Moving Pixels
"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.READ the article