‘Put an end to this war’: Russian director Andrey Zvyagintsev makes new plea to Putin

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After winning the Grand Prix at Cannes film festival, the exiled auteur sent a direct message to the Russian president urging him to stop the war Accoladed director Andrey Zvyagintsev has sent a direct message to Vladimir Putin urging him to start listening to the Russian people and end the “senseless” war in Ukraine, continuing a war of words between Russia’s most revered living film-maker and the Kremlin that started at the Cannes film festival awards ceremony over the weekend. “Except for the limbs torn off from your fellow citizens in the name of an illusory goal, except for the massacre of young people that the country needs to build life and the future – nothing good is on the horizon if we don’t stop,” the exiled auteur said in a message sent to the Russian president’s press secretary through official channels on Tuesday. Continue reading... from Film | The Guardian https://ift.tt/Sp9enha via IFTTT
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Rojek review – unsettlingly intimate portraits of Islamic State militants

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Documentary collects sequence of interviews with prisoners, not all repentant, alongside footage of war-blasted Syrian Kurdistan

Here is an astringent, devastating and truly extraordinary film that is hard work to watch, but entirely worth it. Rojek probes the roots and fallen leaves of the Syrian civil war, a conflict the western media has practically forgotten as news of Ukraine and Gaza-Israel-Yemen dominates international reporting. Director Zayne Akyol, heard off-camera throughout, interviews members of Islamic State, now being held in high security prisons by the Syrian Democratic Forces, about their lives, with some recalling more innocent days when they hunted goldfinches to sell in markets or liked Canadian pop music. Many recount how they were recruited into IS by cells in local mosques in assorted countries – Germany, say, or Saudi Arabia – and came to have positions both high-ranking and menial in the organisation in the part of Syria with a dense Kurdish population.

In the film’s present, some are still unrepentant, believers that they fought honourably in a holy war; others see things differently and are riven with regrets. Some are women who recall their time of service to IS as the happiest days of their lives. In stately procession, each person speaks straight to the camera in almost disconcerting closeup, and however repugnant some of the things they say might be, it’s impossible to not recognise and see most of them as broken human beings.

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