The Cave
Regissør: Feras Fayyad
( Danmark, Syria)

SYRIA / Feras Fayyad's new documentary shows people's courage, resilience and solidarity in a hospital under the bomb.




(THIS ARTICLE IS MACHINE TRANSLATED by Google from Norwegian)

How to film human trials and struggles war? When the necessary technology is widespread and the methods of documenting one's own experiences are more accessible than ever, each new crisis or conflict brings with it a stream of documentary films. It is perhaps only natural that we see a shift away from the notion of making the definitive film from any conflict to a more personal view of the lives of the affected people, given the large volume of documentation.

Such films often leave political analysis in the background, and rather let us immerse ourselves in individuals' experiences and their most basic desire: to live in a predictable and safe society.

human destiny

Some of last year's strongest documentary about the war in Syria is about people under siege, and each film is as compelling and heartbreaking as the next in portraying human endurance and strength in difficult conditions. It's not about picking out the best movie, for every single human being catches the attention and makes the movie stand out: Tim Alsiofi made the short film Douma Underground as he sought refuge from the bombs along with his relatives in the basement. Waad al-Kateab filmed five years of resistance in the film For the same, married and had children under constant danger in Aleppo.

Stage Manager Fayyad beasts, who made the movie Last Men in Aleppo whether the White helmets are relevant The Cave, which shows the struggles and challenges of daily life there We follow Amani Ballour, a female doctor and hospital manager in eastern Ghoua on the outskirts of Damascus as the city is bombed and Russian planes threaten in the sky.

Fayyad was imprisoned and tortured by the Assad regime in 2001, and now lives in Denmark. Ghouta was unavailable to him, so he recruited three cameramen to film inside the hospital and the footage was smuggled out. Second, the footage was edited into a film documenting a courageous commitment to what Syria once was, made for future generations who may return to rebuild the country. If film really acts as an "empathy machine" that gives us a greater understanding of the people we share the planet with, by giving us an insight into their lives, we can hardly find a more sympathetic example than Dr. Amani Ballour. She is in her late twenties and is the head of (and the key person in) a closely-knit team that runs a hospital in an underground network of tunnels called the "cave."

In addition to the trauma of dealing with the war-wounded and the constant threat of
new air strikes meet Amani's attitudes where her competence is called into question
because she's a woman.

Ballour is a trained pediatrician, and her careful treatment of the children when she cares for and soothes them is touching. In the film, she shows unwavering compassion while dealing with whatever it may be that concerns the staff – all while the severely injured residents flock to the hospital. On top of all that, they have to take care of 40 inhabitants in a besieged city that suffers from malnutrition in addition to other ailments. There is no shortage of patients.

To act

The resourceful staff handles the patients, the carnage and the lack of supplies in a way that makes the viewer humble. Surgeon Salim turns up the volume on the iPhone and plays classical music to ease the lack of anesthesia in the operating room. Nurse Samaher surprises Amani on her 30th birthday with popcorn, so everyone can laugh and pretend it's pizza.

The Cave Director Feras Fayyad Denmark, Syria
The Cave
Director Feras Fayyad
Denmark, Syria

In addition to the trauma of dealing with the war-wounded and the constant threat of new air strikes, Amani encounters attitudes where her competence is called into question because she is a woman. And she hardly thanks for the effort. The husband of a woman Amani treats, complains that she is a woman rather than the hospital lacks the necessary medication, he blames her and says she is not good enough to be a leader. This despite the fact that she has been re-elected as the leader of her colleagues – who trusts her. In a video call, Amani's father worries about women being used as "tools" in war. Violent conflict threatens everyone, but other forms of repression persist during the bombing.

"Fuck you, Bashar"

The hospital team's sincere compassion in the midst of suffering speaks for itself, their call to preserve life is fundamental anti-war in its expression. Injured people are treated after today's attacks until a scary day in 2018 when something new happens: chemical attacks. The team's uneasiness as they realize this is not a normal attack, with patients struggling to breathe while they all know the stench of chlorine, is appalling. "Fuck you, Bashar," says Amani – a reference to the Syrian regime – a simple statement that carries the grief of the people.

The film sheds light on the almost impossible dilemma of becoming or fleeing, enduring and continuing to work to maintain life, culture and identity in a city that seems anything but inhabitable – where the most elemental shelter and nourishment is lacking – or to make an effort at a safe distance. "Who would want to have children here?" Amani exclaims bitterly at how the city is constantly diminishing and weathering.

The Cave shown in some cinemas from February 7, 2019.
The movie is shown below Movies from South 2020.

 

Translated by Iril Kolle

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