Immortals, by Maya Tschumi

 

Immortals, directed by Maja Tschumi, is a courageous docufilm that intimately portrays the "October Revolution" that unfolded in Iraq in 2019, when a wave of young dissidents took to the streets demanding reforms, an end to rampant corruption and nepotism, and the foundations for a freer and more democratic future.

It is impossible to analyze the Swiss director's work—educated at the Academy of Media Arts in Cologne and deeply interested in cinema's capacity to document and influence real-world dynamics—without considering the logistical and technical methods through which the production was concretely realized. In other words, the filmic language—the form through which the work expresses itself—is perhaps even more significant than the content itself, which already holds substantial critical, cultural, and political value. In a production that had to literally race against time, protect itself from prying eyes, and devise methods and communicative strategies to narrate reality from within, the form ultimately becomes content. This aspect is highly original and not always found in so-called commercial cinema, where stylistic choices often result from budgetary constraints, and where reality's resistance to creative or interpretative acts is nearly nonexistent.

Tschumi's film should thus be analyzed on two levels: the formal/content-related—encompassing all adopted production practices and strategies—and the thematic, referring to the historical-narrative elements at play.

Beginning with the latter: in the first chapter, Milo, a young woman forced into domestic isolation by the regime following her participation in the October uprising, decides to leave her apartment and reach her friend/partner by wearing her brother's clothes. She now wishes to leave the country, but obtaining a passport is virtually impossible, as many young people have been reported or punished by their own fathers.

In the second chapter, a young reporter/videomaker films the revolutionary events from within, as dissidents are attacked, wounded, killed, or arrested, and he himself is struck by shrapnel, seriously risking his life.

Analyzing the film from another perspective reveals that the chosen form, though necessitated by circumstances, achieves a perfect alignment with the narrative, enhancing the expressive power of its content. Director Maja Tschumi stated, "We decided against clandestine filming to ensure everyone's safety." Yet, it is evident that the camera's eye deliberately—and perhaps at times subconsciously—chooses to conceal itself within the crevices of streets, behind doorways, and around corners, as if attempting to vanish while simultaneously unveiling the stark realities. In essence, the camera hides to reveal, or reveals through hiding, narrating the story through its apparent self-effacement. This approach is an extreme manifestation of a cinematic practice rooted in cinéma vérité, tracing back to its origins in Soviet cinema and Italian Neorealism. 

The film's two chapters exhibit distinct cinematic forms: the first reconstructs scenes genuinely experienced by the protagonists, delivering a performative, sensory, and emotional authenticity that arguably surpasses the original events. The second chapter, following a symbolic, almost music video-like introduction, presents footage shot by Khalili, edited into an extensive flashback that serves as a prelude to the current situation.

Presently, it appears that Milo has managed to clandestinely leave the country, while Khalili, still bearing the scars of his severe injury, continues to document the ongoing efforts for change and renewal in Iraq. Ultimately, although the path to freedom and the full realization of rights remains arduous, the relentless struggle and unwavering dreams of these young individuals serve as a poignant reminder that the initial steps toward the erosion of any democracy are marked by silence and indifference, and that we all share responsibility for the world's future.

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CHAMELEON FILM FESTIVAL

Biography

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