The Syrian Civil War started in 2011 and is ongoing to this day. Initially, the war was overlooked. Blatant human rights violations, however, cannot be overlooked. Photographers, journalists and filmmakers are documenting these atrocities through direct visits to Syria. Last Men in Aleppo, a documentary directed by Feras Fayyad in 2017 is one of these efforts.
Most documentaries are thought of as “merely educational” and solely academic. Unexpectedly, this film is more than that. It proves to us that we shouldn’t only learn but we should also engage and act. Utilizing both formal techniques and thematic content to make the film highly personal, Fayyad connects us with the civilians and heroes in Syria. By the end of the film, dumbfounded and heartbroken, viewers can’t help but think about what the film leaves inside them.
Throughout the film, Fayyad follows the daily lives of two white helmets during the siege of Aleppo. White Helmets, also known as the Syrian Civil Defense, are volunteer first-responders in Syria. Mostly working-class civilians before the war, these are people who have risen up for their fellow neighbors. Particularly, Fayyad follows Khaled, a loving father of two daughters and Mahmoud, a worrisome young man.
For the highlights in the beginning and the end of the documentary, the camera follows Khaled and Mahmoud through aftermaths of various bombings. One scene after a bombing shows a member of the White Helmets sorting through rubble to dig out a crying young boy underneath. As he carefully pulls him out, the camera focuses in on the child’s head: gashed and bleeding heavily. This is just one of many painful scenes.
With the camera switching from warm moments between Khaled and his young daughter (Isra) to horrific rescues, it’s hard to find a peace of mind during the film. A repeating switch between friendly/familial humor and disturbing bombings dominates the film. Although with repetition, the film comes off as “cyclic”, this repetition is exactly what digs into our minds. With each painful and disgraceful scene, we open our eyes to the reality in Syria. Laughing at the innocent dialogue between Isra and Khaled then immediately frowning from the chaos after a bombing, there is no break. With every single scene ending with sadness, feelings of restlessness take over as we just sit and watch.
Two specific methods are utilized to engage viewers in such a personal way: formal techniques and thematic content. First off, cinematography plays a vital role in providing viewers with an up-close look. With the camera directly face to face with the white helmets and victims almost all the time, it feels as if we are standing right in the middle of it all. It becomes hard to ignore the blood, tears and debris from bombings.
In addition, one feature of the cinematography that I found especially impactful was the shaking of the camera as the bombs hit. While watching, the screen feels an “earthquake”, as if the bomb hit the building right beside us.
Lastly, the sounds are also important to the message. Specifically, the authentic diegetic sounds of loud missiles falling onto crumbling buildings, screeching sirens rushing to save lives as well as children crying and screaming all come at once into our ears. Once again, the reality of the destruction is forced into attention, as Fayyad proves that was is happening is not only real but also horrific.
In these ways, the formal techniques enhance the film, forwarding the thematic content and making it more than just another dull documentary.
With regards to thematic content, the central issue that resonates with me is how important it is that we help prevent these mass atrocities from occurring. Scene after scene, we sit, eyes glued to the screen and minds racing to make sense of it all. As we watch Isra, for example, her giggles provide comfort while also increasing a sense of worry. What if something happens to her?
Iconic images of brutality in the Syrian civil war have come and gone. From Omran to Aylan Kurdi, stories have gone viral one day and immediately forgotten the next. That is what makes this film so urgent. Fayyad insists that we take a deeper, more personal look. For any bit of humanity left inside us, this film is a must-see. We should watch this film not to learn facts or spend time but to think deeply about what we can do to help stop human rights violations in Syria.
As a peace deal for the Idlib district in Syria is made this week, I can’t help but think if the fate of Idlib will be the same as Aleppo. Perhaps what Last Men in Aleppo has left in me is the message that peace is not given; it must be actively advocated for.
As you mention in your review, people usually find documentaries extremely boring and solely educational and I also always shared that opinion. However, you were able to change my perspective. You make a strong point about the emotional strength of the documentary and feelings that it arouses in watchers and leaves inside them after watching the film. That supports your statement that it is more than just a documentary. Also, you did a really good job by mentioning specific example like a bleeding child’s head that shocks us and contributes to the impressiveness of the film. Your review has everything needed to convince me to go and watch the documentary. Well done!
I like how you mentioned and explained that the shaking of the camera and the sounds emphasize the point of the whole documentary: to raise awareness of the situation and for a peaceful solution to occur. I agree with you on the fact that people care about Syria on certain days and then completely forget about it. I feel like this happens with many issues worldwide. I’m guilty of doing this and I wish I didn’t do that. The flow of your essay allowed me to understand what the film is about. The scenes that you mentioned are very descriptive and has inspired me to watch this film.