Turning grim, serious and incredibly tragic historical incidents/episodes into funny and idiosyncratic comedies is either a very brave creative choice or a very stupid one, as they can either turn into blazing, if provocative, works (Wertmuller’s Seven Beauties, Holland’s Europa Europa, Menzel’s I Served the King of England, etc.) or films that divide its viewers right down the middle (Benigni’s Life Is Beautiful, Tarantino’s Inglourious Basterds, etc.) or despicable pieces of trash best suited for the garbage bins (Waititi’s Jojo Rabit, etc.). While this docufiction by German filmmaker Andreas Dresen didn’t belong to the inherently complex sub-genre of Holocaust films, its focus on extra-judicial measures, nefarious subversion of due processes, and colossal travesty of justice that the US freely carried out under the guise of “war on terrorism” – which included racial profiling, kidnapping, illegal detentions for indefinite periods, limitless tortures, etc. – did make for a bleak, solemn and intensely sensitive subject. Hence the director’s formal choice – alternating between deadpan and bouncy – could’ve easily led to flippancy and trivialization of the matter. Fortunately, he was careful and empathetic enough to avoid that, and in turn succeeded at making a film worth watching, despite some of its broad brushstrokes and crowd-pleasing flaws. The film catalogued the relentless efforts of Rabiye Kurnaz – a super gregarious and effervescent Turkish-German housewife living in Bremen, memorably played by Meltem Kaptan – in order to get her eldest son Murat released from the notorious Guantanamo Bay hellhole. Over nearly 5 years, and with massive help from soft-spoken but dogged human rights lawyer Bernhard Docke (Alexander Scheer), she must defiantly battle through the opaque, murky and Kafkaesque world of post-9/11 geopolitics if she hopes to achieve the impossible.
Director: Andreas Dresen
Genre: Black Comedy/Political Satire/Docufiction
Language: German/Turkish/English
Country: Germany
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