10:15 pm, Regal 3
Director: James Longley
Cinematographer: James Longley
Cast: Mohammed Haithem, Suleiman Mahmoud
Running Time: 94 min

Iraq in Fragments presents a vivid, intimate picture of Iraqis struggling against long odds to make lives and pursue ideals under the wreckage of war. Filmmaker James Longley collected some 300 hours of film in three different parts of the country; the result is a 94-minute film in three parts that virtually swept the documentary categories at the Sundance Film Festival this year.

This esteemed documentary gives testimony to the faith, frustration and anguish flowing through Iraq. An 11-year-old boy works as a mechanic for his stern Uncle in the mixed Sheik Omar neighborhood in the heart of old Baghdad; two brick-baking families struggle in the northern Kurdish countryside; the Shiite movement of Moqtada al-Sadr asserts its will in Najaf. Even with the extensive news coverage coming out of Iraq, this film provides a rare opportunity to see into the daily life struggles of Iraqis. Yet the film is not an editorial on America’s role. Entirely narrated by the subjects of his film, we see both celebration and condemnation of American involvement.

The opening story, of 11-year old Mohammed, might be taken as a metaphor for the wider situation of Iraq torn by violence and under American military occupation. Mohammed’s struggle to satisfy the demands of his overbearing Uncle in Baghdad does not hide his fear and anxiety as he struggles with the need to provide for his family and to find safety. Several years behind in school and waylaid by war’s intervention, he’s torn between education and apprenticeship. Here is a clear-eyed and affectionate picture of a vulnerable boy, faithfully and fearfully running errands through the rubble of Baghdad.

The second act is filmed inside the Shiite political/religious movement of Moqtada Sadr, traveling between Naseriyah and the holy city of Najaf. As tensions mount inside the country, we see the inner workings of Iraqi local politics as the Sadr movement pushes for regional elections and enforces their interpretation of Islamic law.

Act three follows Iraqi Kurds as they assert their bid for independence, rebelling against the past atrocities of Baghdad rule. We follow these developments through the eyes of brick makers and childhood friends on a farm south of Arbil.

Longley, who served as producer, director, editor and cameraman, lavished time and patience on this work and the end product shows the beauty that can result from such craftsmanship. The cinematography is breathtaking; the editing is as close to flawless as you will ever see. The intimates portraits in this stunning effort take the viewer through the violence and into the lives of those that are profoundly affected by events in today’s Iraq.