AFI Fest: Notturno

By Abe Friedtanzer

Italian documentarian Gianfranco Rosi’s last film, Fire at Sea, was released right around the time of the 2016 election. The Oscar-nominated film was a poignant and timely look at the implications of severely restricted immigration worldwide. Unlike popular recent documentaries like American Factory and Free Solo, Rosi’s work didn’t feature much dialogue or even a formed argument of any kind. Instead, plainly documenting what was happening was powerful enough to speak on its own. Rosi’s follow-up, Notturno, has a different focus but is much the same… 

Rosi travels to Iraq, Kurdistan, Syria, and Lebanon to see how those countries have been ravaged by war and terrorism. People pray and mourn their dead, bemoaning the fact that they had to die in conflicts that have resulted in so much loss. It’s evident that what constitutes a new normal is a life of uncertainty for all inhabitants, and though they may believe that a victory against threats like ISIS is imminent, they are unsure of whether what comes next will indeed be better. 

The visuals and the starkness of what Rosi shows us are undeniably affecting. Those who require more engagement may still have trouble getting into this film, which largely avoids interviews and direct conversation. No one talks to the camera or even acknowledges its presence. That allows viewers to be present and take in what is being showcased, including a mother going through voicemail messages from her daughter, who has been abducted by ISIS and is being held for ransom, and a play being staged.

Notturno becomes most powerful when a teacher reviews the artwork made by her young students. The drawings have been done by children, but reveal a much deeper understanding of the events that have transpired than adults would ever hope for the next generation. They describe in detail the brutality and violence they witnessed, stating it matter-of-factly and conveying little of the fear that they surely felt as they witnessed this terror. 

Those looking for a concrete thesis from this film will be disappointed, but Rosi’s three-year process of traveling through these devastated, war-torn countries has undeniably succeeded in capturing a sense of loss and stillness whose effects will be felt for many years. Oscar voters have favored documentaries chronicling current events in the Middle East, nominating For Sama, The Cave, Of Fathers and Sons, and Last Men in Aleppo in the last three years. Though this film, which has also screened at festivals in Venice, Toronto, and New York, may feel less accessible, it’s still likely to be a serious contender for a nomination.

Comments

[Edward L.]

Thanka for this review. This sounds well worth seeking out. I liked Fire at Sea a lot.