Kathryn Bigelow’s new film (The Hurt Locker, Point Break) brilliantly depicts the hunt for Osama bin Laden by American intelligence services. The 2-hour and 37-minute movie combines action, espionage, and documentary elements, where the United States often confronts its own demons.
Zero Dark Thirty is also the portrait of a woman, Maya (Jessica Chastain). Initially a spectator and reserved in the film’s first few minutes, Maya reveals herself to be a true “killer” as described by her superiors. This CIA agent has only one mission, or rather an obsession, to track Osama bin Laden, the head of the jihadist network Al-Qaeda. She is the key element in an investigation lasting about a decade. A dark, secret, complex investigation reflecting the nature of the film.
A complex world made accessible.
The director skillfully portrays all the horror and difficulty of such an investigation. Over 2 hours and 37 minutes, we encounter numerous characters, including politicians, military, CIA agents, and Al-Qaeda operatives, without losing track. Kathryn Bigelow successfully leads the viewer through a foreign world without overwhelming them with a constant stream of information and characters. It contrasts with Body of Lies, where the plot is (intentionally?) shaky and leaves us understanding almost nothing from start to finish. Not here. From Pakistan to Afghanistan, passing through Washington, we remain engaged until the fateful final minutes when American special forces enter the terrorist leader’s compound to shoot him between the eyes. A brilliant script by Mark Boal, who had already demonstrated his talent in The Hurt Locker.
From For God and Country to Zero Dark Thirty.
A particularly brilliant script as it required modifications during filming. Initially, the film was intended to cover the hunt for Osama bin Laden by the American army, ending in failure due to his elusiveness. The original title was: For God and Country. Upon the announcement of his death, the story had to be reworked to incorporate the latest events as they unfolded. This also explains how the film could be released in theaters less than two years after the death of the Al-Qaeda leader.
America facing its demons.
The United States does not look favorably on the film, which includes several torture scenes that do not convey the heroic and romantic image of the American secret services. But it is precisely because Zero Dark Thirty seeks truth that these scenes exist. Moreover, it is not an apology for nor a critique of torture, just a depiction of reality. While these acts of violence sometimes yield crucial information, they most often result in resounding failure, and it is rather through negotiation and research that the army achieves its goals. So yes, torture is wrong, but it did exist. And it’s so well depicted that it would be a shame to leave it out. Kathryn Bigelow manages to make the viewer suffer along with the prisoner without resorting to gratuitous gore and violence.
