Film

'You Don't Like the Truth: 4 Days Inside Guantánamo' in DC 16 May

“How’s your English?” a grainy image shows a figure in an orange jumpsuit, his face obscured and his figured bent. His questioner is even harder to read, appearing as fragments, an arm, a blurred out face. Both are viewed through a frame, as this is a video made of an interrogation, the camera peering down and into the room, the angle itself disconcerting, as it suggests you’re seeing something that maybe you shouldn’t. This is the start of Omar Khadr’s ordeal, recounted in Luc Côté and Patricio Henríquez's documentary You Don't Like the Truth: 4 Days Inside Guantánamo, showing 16 May at the Human Rights Watch Film Festival in DC. Khadr was 15 years old when he was captured in Afghanistan in 2002, then sent to Guantánamo, where he was interrogated and tortured. In 2010, he pleaded guilty to five charges, including “murder in violation of the law of war,” as part of a plea agreement with military commission prosecutors. A Canadian, Khadr is currently the only Western citizen still detained at Guantánamo. And to this day, he remains detained, despite that plea agreement.

As Khadr points out to his questioners, they don’t "like the truth": they have stories they need to tell, paychecks to earn, and reputations beyond their own to uphold. The simplicity of his assessment, along with the very rawness of the film -- the crude editing, the clunky split screens, the awful sound -- help you to see what’s missing. These rough edges are applied to the nuances of the legal case, not to mention the hammering ethical failures of the “legal” or “extralegal” conditions. And so the roughness makes clear that none of the seeming rules and refinements mean anything. Except that there is no end of costs, for Omar Khadr, his interrogators, the Canadian government, or the US, no matter how it imagines itself.

See PopMatters' review.

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The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

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Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

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Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

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There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

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