A significant political interview of amazing revelations in “Secret World of the US Election: Julian Assange Talks to John Pilger”

John Pilger, “Secret World of the US Election: Julian Assange Talks to John Pilger” (RT.com, October 2016)

One famous Australian journalist talking to another famous Australian journalist should be a major media event covered by the Australian Broadcasting Corporation or the Special Broadcasting Service (SBS) but unsurprisingly neither of these networks was interested in promoting, let alone broadcasting, excerpts of John Pilger’s astonishing interview of Assange in which nearly every reply Assange gives to Pilger is a jaw-dropping revelation of the depths of the corruption of one of the two major candidates in the 2016 US Presidential elections – I’m referring of course to Hillary Clinton, the Democratic Party candidate – as revealed in Wikileaks’ releases of emails hacked from the Clinton campaign manager John Podesta’s email server and leaked to Assange’s organisation. The really amazing thing about this interview is that both Assange and Pilger manage to keep their nerve talking about Clinton’s connections to Saudi Arabia and Qatar among others through her and her husband Bill’s humanitarian charity Clinton Foundation and those nations’ funding of ISIS; her obsessive pursuit of regime change in Libya that resulted in Muammar Ghaddafi’s death and mutilation; and the US political establishment’s attempts to derail the other US Presidential candidate Donald Trump’s campaign, among other matters discussed.

Those who can’t or won’t bring themselves to believe that Hillary Clinton is steeped in corruption and has broken numerous US laws, from laws on government record-keeping to laws on the conduct of private charities, the law on perjury and laws regarding conflicts of interest during her time as US Secretary of State (2009 – 2013), are advised to refer to various blogs and websites (not all of which are politically partisan) detailing her many blunders and crimes: 21st Century Wire is one good website as are also Club Orlov and Off-Guardian.org among others.

The excerpts from Pilger and Assange’s conversation are gathered up into two main subject groups: the Podesta emails detailing the scope of Hillary Clinton’s numerous conflicts of interest, and Assange’s own predicament, holed up in the Ecuadorian embassy in London, awaiting possible extradition by the UK to Sweden on trumped-up charges of rape.

Without a doubt, this interview must be one of the most significant political interviews of 2016 and it is a great pity and tragedy that it isn’t more widely known and broadcast in Australia at least, if not in the United States. The interview and its transcript can be viewed at this link.

Channel 24 (Russia) Interview with First Lady of Syria Asma al Assad: a riveting conversation with a classy lady

Channel 24 (Russia) Interview with First Lady of Syria Asma al Assad (18 October 2016)

In contrast to so many female politicians and spouses of world leaders, the wife of Syrian President Bashar al Assad comes across as a natural and genuine person, well-spoken, intelligent and perceptive, in her first interview with a foreign interviewer in 8 years. Asma al Assad talks about her experiences in carrying out charitable works and projects of social and economic advancement in Syria, and in holding the country together under continuous assault from jihadi groups and those Western and Middle Eastern countries that finance and supply them with arms, advice and new fighters. As of the time of interview, her projects to improve Syrian people’s lives, particularly the lives of young people, are still ongoing though her focus is now on helping the families of soldiers and others who have died or are injured as a result of war. Asma al Assad speaks warmly of her husband, describing him as calm, approachable and easy to talk to, and explains why so far she has refused all offers (all non-Syrian) of sanctuary for herself and her children away from Syria. She expresses confidence in the country’s future and ability to rebuild its society and infrastructure.

Mrs Assad is a thoughtful interviewee, very articulate, and highly critical of Western duplicity and hypocrisy in portraying the situation in Syria to the public outside Syria. Having worked as an analyst in a major investment bank in the UK (where she was born and attended school and university) and in Europe, Mrs Assad was well prepared for the role of First Lady, tackling social problems in Syrian society, and easily sees through the apparent generosity of those Western countries that offered her asylum and financial security during the current war. She presents a very calm demeanour and her voice tends to be rather monotone. A contemporary young Western audience might find Mrs Assad rather boring to watch and listen to, and not at all glamorous or dramatic. Yet whatever glamour she emanates – and she does look like someone of class – comes from her inner being. The result is an interview that, while it does not touch on anything different from the narrative of war, suffering, Western hypocrisy and having to battle propaganda that we have come to expect, is nevertheless riveting.

Battleship Potemkin: a classic of drama, passion and the power of people to overturn injustice and oppression

Sergei Eisenstein, “Battleship Potemkin” (1925)

Although this film was made over 90 years ago and is a silent black-and-white work, it still stands up well against current films thanks to its crisp action and a plot that will still resonate with many people, especially those living in countries experiencing political repression in their daily lives. The film’s emphasis on the people as the grassroots foundation for political and social movements that can overthrow governments and implement new and better ways of living is a refreshing contrast and rebuttal to Hollywood stereotypes about the power of individuals to drive and achieve change.

The action takes place over five episodes that form a narrative arc set during the 1905 Russian Revolution. Sailors on the warship Potemkin sympathise with workers rebelling in St Petersburg over their inhumane treatment by bourgeois employers and an autocratic government. The seamen get a taste (literally) of that treatment themselves when their officers try to force them to eat meat tainted with maggots. The captain forces the sailors to assemble on deck, separates those who refused to eat the borscht made with the meat and orders a firing squad to shoot the rebels. Ordinary seaman Grigory Vakulinchuk appeals to the firing squad not to shoot. The shooters put down their weapons and a brawl between the officers and the crew breaks out. In the melee, which the sailors win, Vakulinchuk is shot dead by two officers.

The grieving sailors lay Vakulinchuk ashore at the port of Odessa. Local citizens view his body, see the message attached to it that explains his actions and death, and are moved to rebel against the local government and military authorities. The tsarist government cracks down hard on the citizenry in memorable scenes that take place on the boulevard steps: a boy and then his mother are shot dead in a horrific sequence that underlines the inhuman, machine nature of the advancing troops upon the panicked crowds; a young woman is killed and the pram with her baby runs down the steps, the baby’s ultimate fate remaining unknown; and a woman doctor, appealing to the troops’ humanity and brotherhood with their fellow Russians and Slavs, is mown down along with other innocents.

The Potemkin gets a call for help from the Odessans and the sailors rally by firing on the headquarters of the military authorities, destroying the building. A fleet of warships is soon on the Potemkin’s trail. The sailors know their firepower is as nothing against the might of the Russian navy: how will they and their cause, and the Odessans as well, fare when the battleships catch up with them?

Although the film has probably been over-analysed, not necessarily for the right reasons, and its use of montage, clever and imaginative though it is, has also been over-emphasised, Eisenstein’s work remains compelling in its brisk, no-nonsense way of putting together otherwise unrelated shots so as to suggest not just a story, but a story with a message about revolution, and how revolution and mass movement can only succeed if the people believe in equality and brotherhood, and are not simply out for personal liberty. (And clever montage cannot work without good camera-work that has a feel for drama, emotion and visual artistry, framing each and every scene like a diorama in itself, and equally clever and brisk editing that brings pacing to suggest increasing tension leading towards a climax.) In this film, personal sacrifice is a significant part of achieving a freer and more equal society. Vakulinchuk acts as a catalyst but his role as leader cannot be over-stressed as it would be in a Hollywood film.

Also significant to the film’s enduring success is its cinematography which stresses crowd scenes, often shot in panorama and in imaginative ways to boot, and the clever use of black-and-white imagery that approaches German Expressionism’s use of black and white and all the shades of grey in-between. Violence in the film is not explicit yet the discreet ways in which it is filmed make a deeper impression on viewers than all the cartoon hyper-violence of much current film-making which tends to numb the senses and prevent a proper and appropriate emotional reaction to visual brutality.

The actual plot might be thin and heavy-handed, the acting (all by non-professionals) overdone and the characters very stereotyped, but what Eisenstein brings out of his material is a film of great drama, power and passion.

Ironically, at this time of writing, the people of Odessa (in Ukraine) continue to struggle for freedom, equality, brotherhood and justice for their fellow citizens who were tortured and butchered by neo-Nazis in the trade union building in early May 2014, and whose suffering continues to be denied in the West.

Deduction and reason versus propaganda in pursuit of the truth in “Through Sherlock’s Eyes: The Case of Alexander Litvinenko”

Alexander Korobko, “Through Sherlock’s Eyes: The Case of Alexander Litvinenko” (2015)

Not only does this 23-minute documentary present an intriguing scenario of the death of the Russian spy Alexander Litvinenko from polonium contamination – a scenario that, among other things, not only exonerates his supposed murderer Andre Lugovoi ( a former KGB guard later turned businessman and Russian State Duma representative) but also possibly explains why the British inquests into Litvinenko’s death go nowhere – but it does so in a calm, laid-back way that eschews Hollywood-style hugger-mugger razzle. Taking us into the matter is Vasily Livanov, posing as the Russian Sherlock Holmes, sitting at ease in his armchair and reading out aloud the work done by amateur Russian and British sleuths who shared their information online.

The documentary presents its case that Litvinenko contaminated himself with polonium and carelessly left traces wherever he went, which explains how not only Lugovoi himself ended up contaminated but also other places in London that Litvinenko frequented (but which Lugovoi never visited) also were found to have traces of the element on their premises. Firstly Lugovoi is subjected to a polygraph lie-detector test administered by expert Blake C Burgess and is found to be innocent. The documentary then turns its attention to the US writer Masha Gessen’s scribbling about Litvinenko’s case in her book on Russian President Vladimir Putin (“Putin: the Man without a Face”) and, using information obtained from an interview conducted with an American nuclear physicist, demolishes Gessen’s weird claim that the isotope of polonium that killed Litvinenko was made only in Russia by government workers in 2006 and that Russian President Vladimir Putin personally ordered the hit on Litvinenko. The US scientist adds that polonium can be ordered online in tiny amounts. (Plus polonium is used in textile factories throughout the world, including the Indian subcontinent where the bulk of the global textile manufacturing industry is located.) Finally a British citizen journalist visits the Abracadabra Club in London, where polonium traces were found, and speaks to the manager there. The manager recognises photos of Litvinenko’s employer Boris Berezovsky and an associate, Mario Scaramella; but on seeing Lugovoi’s photo, says he does not know the man.

The documentary is easy to follow though its case is not entirely persuasive. The polygraph lie-detector test is not infallible as Burgess himself admits. The Yes / No questions asked of Lugovoi might have been phrased and framed in such a way that a bystander could easily predict the answers he gave. Only one employee at the Abracadabra nightclub is interviewed. Viewers may need more convincing that Gessen is not simply a jealous Putinophobe and that other people have criticised her writing and research. Other possibilities as to how Litvinenko might have died – he might have died from some other toxin and the polonium story is simply a cover to hide the real cause of death – are not considered.

How Litvinenko originally came in contact with the polonium and why is not part of the documentary’s scope so some viewers may be disappointed that the sleuthing done by citizen journalists only exonerates Lugovoi of murder but goes no further. The aim of the program is basically to strip the politics away from the circumstances of Litvinenko’s death and by doing so, demonstrate how the man and the way he died are being used to demonise Russia and its government by the British and other Anglophone news media. Implied here is the notion that the British news media is acting as the propaganda arm of the British government in pushing an agenda that wilfully separates the peoples of Russia and Britain from pursuing common interests and values by fanning the flames of conflict between them.

The documentary treats its viewers intelligently and does not condescend to them with blaring lights, a hasty pace, jagged editing and flashy special effects. Not for the first time do I find myself wishing all documentaries could treat its viewers with respect.

How I Ended This Summer: a meandering character study of two individuals coping with extreme isolation and one another

Alexei Popogrebsky, “How I Ended This Summer / Kak ya provel etim letom” (2010)

Out of a very threadbare and unbelievable plot, Alexei Popogrebsky manages to craft a fairly interesting character study about human frailty, the need that people have for connections with one another, isolation in an extreme environment, modern humans’ relationship with nature (and how they have damaged and poisoned it) and forgiveness. A young university student, Pavel (Grigory Dobrygin), is sent to a meteorological station in the Russian Arctic to work with Sergei (Sergei Puskepalis), an old-timer set in his ways who takes pride in the work he does there. Pavel finds the work of making daily periodic reports on the Arctic weather and tidal conditions monotonous and boring. Sergei sees Pavel as lazy and immature because the younger man is easily distracted by boredom and plays video games when he should be learning about the environment around him so he can write his essay. The two men do not get on at all and can barely tolerate each other; Sergei even cuffs Pavel on a couple of occasions when the latter makes minor errors in his work. Pavel is easily intimidated and becomes quite paranoiac.

One day Pavel gets an urgent message from their superiors at the State Meteorological Service while Sergei goes out on an unauthorised 2-day fishing trip: Sergei’s wife and only child have died in a car accident. Pavel is supposed to tell Sergei straight away of the news and to get him to contact their employer who is sending a ship to collect Sergei. Because of his fear of Sergei, Pavel neglects to tell him. This failure to pass on important news sets in train a series of events that escalate in seriousness and results in life-threatening danger for both men in very different ways: Pavel through his paranoia and stupidity has several brushes with death and exposes himself and Sergei to radiation poisoning from an abandoned isotope beacon.

Filmed on location in Chukotka, close to Alaska, the movie features stunning scenes of wild subarctic landscapes and vast skies changing colour as the season passes through mid and late summer into early autumn. Long immersive shots of nature reinforce the sense of extreme isolation in this harsh environment where to make one mistake – as Pavel does, and he makes more than one mistake – could mean the difference between life and death. This of course means the film is quite slow in pace and stretches the thin plot almost to breaking point. There is very minimal dialogue which puts great demands on the two actors, particularly Dobrygin, to express emotions and motivations through their characters’ inexplicable behaviours. Both actors do excellent work in portraying two generational types: Sergei representing the stoic older man who puts duty, self-sufficiency and responsibility before personal feeling and comfort (and who sometimes bends the rules whenever he wants to spend time fishing), and expects Pavel more or less to do the same; and Pavel as the young, impulsive and immature fellow who wants to have a good time but is dependent on a disapproving older man who maybe has spent too much time away from other people and is lacking in current social graces.

The cat-and-mouse chase that occurs in the latter half of the film is ludicrous as Pavel is convinced that Sergei is unhinged and is out to kill him, and he plots to outwit Sergei. (The irony here is who is really unhinged, Pavel or Sergei.) The result is a climax that is grim and devastating in its stark and minimal delivery as Pavel confesses what he has done to the fish Sergei has been drying outside their hut and which the older man has been eating. At this point, one expects Sergei to really go ballistic and take his rage out on Pavel but the denouement that follows is just as jaw-droppingly unexpected as Pavel’s confession.

Perhaps the one major weakness of the film is that, having revealed Pavel’s weakness of character, it does not show his redemption, if indeed any has taken place with or without Sergei’s participation. Sergei’s acceptance of his family’s deaths and possibly his own impending death appears unbelievable, at least to Western audiences. Obviously Sergei has forgiven Pavel for his immense moral baseness in poisoning him but how this forgiveness has taken place and under what circumstances is never shown. We cannot tell if Pavel has grown in maturity as a result but we have to assume that he has.

With the themes it has, the film might have been expected to be heavy-going but with minimal dialogue and long scenes of nature and silence, it carries its message lightly. Yes, humans have done great harm to nature and to one another, but when faced with extreme dangers, they must band together for survival no matter what they have done to one another in the past, and forgiveness and acceptance of one another’s faults and crimes must at times override such insults, no matter how awful, horrific and even life-threatening they are. Unfortunately by the time the film reaches this point, it has meandered on and on for so long that this message has the feeling of being tacked on just to round off the narrative and give it a raison d’être.

Russian Media interview President Bashar al Assad of Syria: a view of how Syria is fighting terrorism and advancing political change

Russian Media Interview with President Bashar al Assad (16 September 2015)

Syrian President Bashar al Assad granted a rare interview to representatives from various Russian media outlets including RT, Rossiskaya Gazeta, Channel 1, Russia 24, RIA Novosti and NTV Channel. Given that for the past four years Syria has been under siege from various rebel groups such as Jabhat al Nusra and ISIS, the interview inevitably centred on Syria’s fight against these terrorist groups, how this fight is progressing and what the process to achieve and maintain lasting peace will be, and the huge wave of refugees leaving Syria for Europe. The interview was conducted in Arabic, English and Russian, and can be viewed at this RT link. The English-language transcript is also at the link.

The interview starts at the deep end with a multi-loaded question on the political process to peace, the President’s view on sharing power with Syrian opposition groups that originally wanted him gone and how he plans to carry out political reforms in the current difficult circumstances. The President replies that from the outset his government used dialogue to bring together different groups of Syrians in Damascus, Moscow and Geneva, to discuss political change and how to fight terrorism, and that this dialogue is still ongoing. However for political change to occur, terrorism must be defeated first, and to defeat terrorism and stop the exodus of refugees, the West must stop supporting terrorists. Most Syrians who are refugees are fleeing Syria because of the terrorist threat, and most remaining Syrians want security and safety first before political reforms can take place.

On the question of international co-operation to solve the terrorism problem, Assad acknowledges the support from Iran, Egypt and Russia at varying levels. There has been some co-operation with Iraq as well. On the other hand, the coalition of countries led by the US has had no success in combating terrorism and has only allowed ISIS to expand its forces. Some Middle Eastern countries are assisting ISIS by providing fighters and weapons.

On the question of the type of enemy Syria faces in ISIS, whether ISIS is a large organisation or an actual state, Assad asserts that the state ISIS claims to have created is artificial and bears no resemblance to a normal society. ISIS is an extremist Islamist creation of the West and serves as a de facto army to bring down Assad’s government and create chaos and instability in the Middle East.

Asked if he was prepared to work with those Western politicians who had wanted his overthrow once peace is restored to Syria, Assad indicates that he would if such co-operation brings benefits to Syria and the Syrian people and that his personal feelings were irrelevant. Assad expresses sorrow that there are so many Syrian refugees who have fled to Europe, as every person gone is a loss to Syria but he also emphasised that the deaths of people in Syria from terrorism are no less tragic than the deaths of refugees on the high seas in the Mediterranean.

The interview concluded with a question as to whether the war in Syria against ISIS and other terror groups began and who Assad thinks is responsible for it. He lays the blame squarely on the US and the oil kingdoms in the Arabian Peninsula and refers to the general historical background stretching back to the 1980s when the West adopted the murderous mujahideen in Afghanistan as “freedom fighters”.

Watching and listening to the interview, I was impressed with Assad’s soft-spoken demeanour and his fortitude in the most difficult circumstances. He may not have willingly taken on the role of Syrian President – he was originally an eye doctor working in London until the death of his older brother who had been groomed by their father Hafez Assad as his successor forced him to return to Syria – but he has shown tremendous moral fibre in staying with his people and defending them.

 

Rejuvenation of British politics and student activism on “Sputnik: Orbiting the World with George Galloway (Episode 86)”

George Galloway and Gayatri Pertiwi, “Sputnik: Orbiting the World with George Galloway (Episode 86)” (RT.com, August 2015)

Perhaps the best thing that former UK Labour Party leader Ed Miliband ever did for his party was to resign after the general elections in May 2015, which saw the Conservative Party returned to power and able to govern in its own right. In the current scramble for the vacant UK Labour Party leadership, MP Jeremy Corbyn has emerged as a popular successor with his platform calling for renationalising public utilities and railway transport, tackling corporate tax evasion and avoidance, restoring university student grants and abolishing tuition fees, unilateral nuclear disarmament, urging the Bank of England to create money by funding infrastructure projects, stopping cuts in the public sector, and calling for dialogue with groups such as Hezbollah and Hamas, and with Russia. Corbyn’s sudden popularity has unsettled the British political establishment and the mainstream British media across the political spectrum – and this includes supposedly progressive media outlets – has leapt to its masters’ defence and is pouring savage opprobrium upon his head. In this episode of “Sputnik …”, Geroge Galloway and guest Seamus Milne of The Guardian (one so-called progressive news outlet that scorns Corbyn and rubbishes his platform) discuss Corbyn’s huge popularity among young people and what it represents in British life: a deep revulsion against the Cameron government and its neoliberal policies, and a desire for political and economic change and social justice.

Milne contrasts the rejuvenation of the UK Labour Party that Corbyn has brought with his platform with the general torpor that has existed in British politics since Tony Blair’s time as Prime Minister. He and Galloway briefly touch on the slander, including accusations of anti-Semitism, that has been hurled at Corbyn. Whether Corbyn may have much effect outside Britain is yet to be seen but Milne and Galloway speak of the possibility that the Corbyn phenomenon may resound with Europeans tired of neoliberal politics and economic austerity. Having known Corbyn for a long time and having followed his career in politics, Milne and Galloway agree that he is essentially a decent and honest man. Whether though Corbyn can translate that decency and goodness into effective political leadership, neither Milne nor Galloway can say.

Unfortunately at no point in the discussion does Galloway challenge Milne on his newspaper’s general hostility towards Corbyn and his policies, and why The Guardian vilifies him in the way it does. Strangely, both Milne and Galloway admit to being as surprised as the rest of the country at Corbyn’s apparently phenomenal rise in popularity though with their respective backgrounds, I would have thought they were in a position to predict his Messiah-like coming as they would have (or should have) been aware that many Britons, especially young Britons, were thirsting after real political, social and economic change.

The theme of rejuvenation continues in the second half of the episode with second guest Shadia Edwards-Dashti (hereafter referred to as SED merely for convenience), student anti-war activist and a leader of Stop the War Coalition. She and Galloway discuss the radicalisation of university students angered by past government policies of reducing public funding of tertiary education and increasing tuition fees, with the consequent exploitation of students by banks offering student loans at exorbitant interest rates, combined with the lack of suitable part-time jobs to help pay off student debt and the dismal job prospects faced by many graduates; and various factors such as racism that may or may be influencing this new-found political activism. SED also mentions a growing and insidious culture of policing and snitching at universities, and refers to Jeremy Corbyn as a great representative and advocate for young people.

For my money, SED was the better of the two guests and I wish the Galloways had interviewed her for the whole 25-minute episode. As a student activist, SED is in a better position to analyse and offer an opinion as to why Jeremy Corbyn is so popular with young people, and what his popularity says about the Britain of today and the Britain that might come.

MH17: A Year Without the Truth – uncovering the secrecy surrounding the Malaysian Airlines Boeing 777 shootdown

Yana Erlashova, Vitaly Biryukov, “MH17: A Year Without the Truth” (RT Documentary, 2014)

On 17 July 2014, Malaysian Airlines Flight MH-17, carrying nearly 300 people, was shot down in the Donbass region in eastern Ukraine. Over a year later, debris from the shootdown is still being uncovered, the investigation into the incident is still shrouded in secrecy and the narrative accepted (without much questioning) by the mainstream Western news media that the passenger jet was hit by a BUK missile fired by Donbass rebels, supposedly backed by Russia, is not backed by the evidence so far recovered. What is also very odd is that one of the parties likely to be culpable, Ukraine, has signed a non-disclosure agreement with Australia, Belgium and the Netherlands  which allows any of the signatories to veto any attempt by other signatories to release results of the investigation into the shootdown to the general public. In this context, a documentary about Flight MH-17, the secrecy around its fate and what actually lies behind that secrecy by Russia Today (RT) is not only welcome but necessary.

The documentary takes the form of various interviews with people in Malaysia, parts of Europe and the Donbass area where the plane went down, all of whom have some interest in the shootdown: among others, the families of Captain Wan Amran and a co-pilot who were part of the flight crew are interviewed as are also close relatives of a couple of passengers on the jet. The RT team also talk to some of the people who are still recovering debris from the fallen jet in fields around their homes. Dutch blogger Max van der Werff, Malaysian engineer Mohammad Azahar Zanuddin and German freelance journalist Billy Six (who visited the crash site and spoke to witnesses) are among those who doubt the official Western narrative of a BUK missile having brought down the jet. For different reaons, everyone interviewed expresses a desire to see the secrecy surrounding the plane’s shootdown lifted and the facts about how it came down made public: the grieving families of the two crew members need to know how their loved ones died so they can get on with their lives; others such as the Berlin lawyer representing German families who lost relatives in the crash believe that Ukraine must bear responsibility at least for allowing Flight MH17 to fly over an area where civil war was raging and the Donbass rebels had brought down a military jet.

The interview with the relatives of Captain Wan Amran is quite revealing in sections where the women say they were not allowed by the Malaysian government to view the dead pilot’s body directly, let alone touch it to prepare it for proper Muslim burial. The Dutch blogger says that he learned more about the case by visiting the crash site than on what he saw on his laptop; he also questions the Netherlands’ role in leading the investigation into the shootdown, given that the country is a member of NATO and therefore cannot be an impartial party. The German freelancer admits that initially he believed Western reports about who shot down the plane but after visiting the crash site and talking to people in the area, his opinion changed. Local people tell the RT reporter that they saw military jets approach the jet and shoot at it. The Berlin lawyer says that he received death threats by phone from someone claiming to be a Ukrainian Nazi. Most tragic of all is the story of the co-pilot who left behind a young wife pregnant with their first child.

Astonishingly in one scene, the RT journalist and a local Donbass resident in Petropavlivka find fragments of the Malaysian Airlines Boeing 777; the resident points to a round hole in one piece of the wreckage. They take the fragments to a local government building where a woman tells them that the fragments are set aside for the Dutch Safety Board to collect.

Later in the documentary the former Malaysian Prime Minister Mahathir bin Mohammad bemoans his country’s lack of spine in insisting on obtaining the truth about the crash and in following the Western news reporting in spite of the lack of evidence. He did not think that the investigation into the crash is being carried out objectively.

Although the RT documentary does not claim to have discovered who is responsible for the shootdown, what evidence is presented defies the official Western account and suggests very strongly that the Ukrainian government and military may be complicit in bringing down the plane. Why the Western narrative puts the blame on the Donbass rebels (and by association, Russia) is never explained – the aim of the documentary is mainly to penetrate the secrecy surrounding the crash – and so the shootdown is not placed in the context of the civil war in Ukraine and the parties behind that war that wish to see it continue and drag Russia into the fighting, so as to drain and ruin its economy and possibly destabilise that country and make it ripe for a colour revolution masterminded by Washington.

A more detailed exposition of what happened to Flight MH17 that would put it into a wider context that includes the ongoing war in Ukraine, what is at stake behind it and the media propaganda surrounding its reporting would have been welcome; this documentary does not do nearly enough but given the paucity of information so far about the crash, it is the best there is. Curiously, after this documentary was broadcast, its makers were contacted by the Dutch Safety Board for help in obtaining the fragments of MH17 shown in the film.

Leviathan: a hollow and dishonest film insulting to ordinary people ground down by corruption

Andrey Zvyagintsev, “Leviathan” (2014)

Often taken as reflective of the current socio-political situation in Russia, this film about an ordinary man, living in a remote part of northwest Russia, who loses everything due to local political corruption, other people’s betrayals, the hypocrisy of social institutions and just the fickle hand of fate was actually inspired by a series of events in the US town of Granby, in Colorado state. In the early 1990s, Marvin Heemeyer bought some land and built a muffler shop. He later agreed to sell the land to a concrete company. He then changed his mind and demanded a higher price for his land. In 2001, the local council rezoned the land and gave approval for the concrete company to build a factory there. Heemeyer fought the council’s decision (because the factory would interfere with his own business) over several years and got support from family and friends to resist it, all to no avail. In 2004, with a bulldozer that he customised himself into a virtual tank, Heemeyer demolished Granby’s town hall, the mayor’s house, several other buildings and a number of vehicles including a police SUV. Ending up stuck in the basement of a store he had razed, and surrounded by a SWAT team, Heemeyer committed suicide with his handgun.

In Zvyagintsev’s story, Granby becomes Pribrezhny, an Arctic town that has seen better days as a Soviet factory city and Heemeyer becomes Kolya (Alexei Serebriakov), the local mechanic who is fighting a crooked mayor who wants Kolya’s land to build a new development. The mayor, Vadim (Roman Madyanov), repossesses Kolya’s property at a price less than the property’s value and begins moves to evict him. Kolya enlists the help of his old army buddy, Dima (Vladimir Vdovichenkov), who works as a wily lawyer in Moscow. All their appeals come to nought in court, h0wever. Dima manages to find some dirt on Vadim and threatens to expose him. Encouraged by an Orthodox priest, Vadim issues his own threat against Dima and Dima is forced to back off. In the meantime, Kolya has to deal with a delinquent teenage son Roman (Sergey Pokhdaev) who has fallen in with a local gang and his wife Lilia (Elena Lyadova) who works in the local fish plant and who secretly yearns to leave the town and the rural isolation. Bit by bit, Kolya is undone not only by Vadim’s scheming but also by Lilia and Dima when they start an affair together, and his own anger when he and some friends discover the couple’s indiscretion. A chain of events is set in motion that plunges Kolya into further hell and which reveals the corruption of Russian social and cultural institutions, the hollowness of love and friendship, and the failings of human nature. End of story.

For all the fine acting and the beautiful cinematography which makes Pribrezhny and its natural surroundings significant characters in their own right, I found the film itself hollow and dishonest. Several major characters, most of all Dima and Elena, are simply not believable in both their intelligence and stupidity: why would Dima and Elena commence an affair, knowing that by doing so they are betraying Kolya in the hour of his greatest need? It’s as if Zvyagintsev enjoys playing a pitiless God just to see how much he can make Kolya suffer. The film is meant to be about how ordinary people with all their strengths and weaknesses cope in a world where Fate always holds the upper hand, and good fortune can suddenly be swept away by bad, and yet Zvyagintsev seems to think that Kolya must be made to suffer more by ridiculously contrived situations such as Elena and Dima’s sudden love affair and his later arraignment for murder based on circumstantial evidence. Zvyagintsev’s treatment of Kolya, the simple car mechanic whose main failing seems to be drinking too much vodka, is unsympathetic, even scathing: Kolya’s reaction to every problem is either to fall into a blind rage or blind drunkenness, and the character, for all his street smarts (to the extent that he calls on a clever Moscow lawyer to help) and skill with fixing cars, seems incapable of helping himself as he is led away to jail.

The scenes that involve hypocritical or unconcerned priests add very little to the plot and serve mainly to bash the Russian Orthodox Church in a pointless and tedious way. There may be much to criticise the Church for – it did co-operate with the Soviet government in the past, and it may very well be corrupt for all I know – but Zvyagintsev’s harsh treatment of its representatives as one-dimensional idiots suggests an agenda against the Church per se and not a true criticism of its practices or program.

Oddly enough, the one character who seems true to type and who might actually invite audience sympathy is the crooked mayor who revels in stealing Kolya’s property and using thugs to kick city-slicker Dima back into his place, yet needs the bishop Vasily and the priest Lyosha to help him when Dima threatens to expose his crimes to Moscow police. Although Vadim resorts to violence to get his way, his reason for doing so is understandable. His own hypocrisy is open to the audience but he is incapable of seeing it himself; Zvyagintsev intends that the church scene in which Vadim appears be a condemnation of both Vadim and the Russian Orthodox Church, yet the audience is likely to think that Dima and Elena have committed the greater sin of betraying Kolya.

Supposedly a film about how the little people are made to suffer by the corrupt workings of government and greedy individuals together with implacable Fate, “Leviathan” ends up looking more like an insult against ordinary people like Kolya, who does what he can with the resources he has to survive.

No Russian troops but plenty of Donetsk determination and pluck in “Donetsk: An American Glance”

Miguel Francis Santiago and Alexander Panov, “Donetsk: An American Glance” (RT Documentary, 2014)

Cheerful LA film graduate and investigative journalist Miguel Francis Santiago, fresh from filming his travelogue “Crimea for Dummies” journeys on to Donetsk, one of the two major cities in eastern Ukraine where civil war has raged between Ukrainian government army forces and separatist rebels since April 2014. With so much contradictory information and propaganda pouring from the Western news media about the situation in eastern Ukraine, much of it emanating from the Ukrainian government itself, and with an agenda to discredit Russia and Russian President Vladimir Putin in particular, the only way to find out anything resembling the truth is to visit the area and talk to the local people, and this our hero MFS does with his open and frank manner that encourages others to warm to him. The aim of the film is to investigate and verify Kyiv and Western news media claims that Putin has sent Russian army troops into eastern Ukraine to wage war on the Ukrainian army.

MFS appears to be based mostly in Donetsk City for the making of this film and a tidy and attractive city it looks too, even under duress of bombing, with plenty of city gardens and green space. The streets are spacious though empty and a few people can be seen pounding the pavements. Even trolley-buses, recent targets of the Ukrainian army, are gliding along. Damage to the streets and buildings is being repaired by city workers as best as they can. One of the first individuals we meet is Veselina, commander of a separatist division, who features throughout the film so one assumes that MFS is more or less attached to – or embedded with – her group. She tells the reporter that she gave up her regular work to fight with the rebels and that her desire is to ensure that the people she knows and loves all survive the war. Her men are loyal to her and respect her experience, leadership and judgement.

With Veselina’s division, MFS meets a young woman desperate to rescue her grandmother who stubbornly refuses to leave her home in spite of the bombing around her and a small opera company in Donetsk city trying to maintain a busy schedule of rehearsals and performances to keep up the citizens’ spirits. MFS then trails another commander, Givi, who shows him what remains of Sergey Prokofiev International Airport in Donetsk, once the most modern airport in eastern Ukraine: the entire complex has been destroyed and all that is left is endless ruin. MFS talks to people living close to the war front, several of them forced to live in basements where among other things they celebrate a young man’s birthday. What MFS sees and hears, and what civilians tell him, are all too much for the journalist to bear and the film concludes with MFS doing his grunge guitar thang, singing his heart out to the world and expressing his anguish and rage that senseless war is being visited on Donetsk and other places in eastern Ukraine.

MFS never does find Russian troops in and around Donetsk, and local people tell him they have never seen Russian soldiers either. All the fighting against the Ukrainian army is by local people, all Ukrainians speaking Ukrainian dialects of Russian. One man condemns Ukrainian president Petro Poroshenko for bringing war and suffering to Donetsk.

It is possible that by only visiting Donetsk, MFS has received a biased point of view about the war in eastern Ukraine and that if he had gone to places like Lugansk, Kramatorsk and Mariupol, he might have seen Russian troops on eastern Ukrainian soil. The people he talks to seem genuine enough: they are all ordinary people employed in jobs like mining, carpentry, various professions and farming, and all have felt compelled to take up arms against Kyiv to defend and preserve their language, culture and land. The spirit and independence of the people of Donetsk city and region are prominent and infectious, and at the end of the film I can’t help but cheer them on and hope that they succeed in retaining their land and identity.

Yes, this is a propaganda film; in the midst of war, in which two opposed sides claim to possess the truth, seeking and claiming “balance” in viewpoint is impossible. One cannot be “impartial”, one must decide who to believe and not to believe, who is right and who is not, based on the evidence and facts found. MFS has bravely put his life and beliefs on the line to bring what he believes is the truth and it certainly does not reflect well on Western news media, our governments and ultimately us that we may be the ones supporting forces inimical to democracy and good governance.

Yet even in an awful and brutal war such as this civil war against the people of Donetsk, the human spirit, as exemplified by the Donetsk people’s cheerfulness, communal spirit and determination to carry on as normal, keeping their city clean and comfortable and performing music and opera, is radiant and shines through the terrible destruction.