- I'm starting to wonder why I started with journalism, says Robert fisk in a 1980 archive record at the beginning of This Is Not a Movie while running toward the car and safety after a grenade attack Abadan near the border between Iran og Iraq. The statement is a bit haunting, but very appropriate in the movie.

This Is Not a Movie is a portrait of Fisk and his career – director Chang offers a thought-provoking film about the limitations and usefulness of war reporting in addition to paying tribute to the high-profile investigative journalist and war reporter.

There is plenty of footage that is as captivating as the opening scene, but instead of piling up the film with Fisk's many and unimaginable experiences from the Middle East, the film sensibly draws on thematic threads about the significance of war – or rather meaninglessness – and our urge to tell war stories.

"If you don't go somewhere and witness what happens with your own eyes, you can't get close to the truth." Robert Fisk

Reporter of the old school

The conversations with Fisk in his apartment in Beirut are as insightful to the core of his work as the clips we see from the front lines. We also see him at work in dark alleys with the notepad in hand on his way away from the "fixers" who help him, he talks to the locals and is a prime example of an old school reporter who does the hard way: "If you don't go somewhere and with your own eyes witness what is happening, you can't get close to the truth, "says Fisk in the film.

Now that little journalistic work is fact-checked on the internet, such good, "old-fashioned" journalism is more important than ever. At the same time, this type of journalism is not respected by media barons who are only concerned about profits.

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Courage to challenge

Respecting first-hand sources and facts entails an imperative to always tell the truth, as well as having the courage to monitor and challenge the power centers no matter how unpopular you may be. It is an ideal that Fisk expresses with the greatest of course; he has demonstrably a long history of reporting from the front lines in violation of the official line of political power in the West.

He started his career reporting from the Belfast uprising in the 70s for the London newspaper The Times. During his time in Belfast, he realized that the British army did not have a monopoly on the truth, a discovery that immediately made him a controversial figure at home.

Fish's sympathies for the rage in the Middle East and Africa over the last decade aimed at the colonial powers has also met with much mockery from those who have a different political opinion, but he insists that the reporter's clear role is to explain the reality as it looks among people, objectively, but always in party with the weakest party.

"I am not a machine," he says to those who espouse the myth of total neutrality, emphasizing the need for reporting that is not substantiated by emotion, but by essentials. . .

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