"My intention was just to give an intensely personal, subjective experience of what it's like to go to war -- and what it's like to come home from it," director Danfung Dennis says of his new documentary, Hell and Back Again
Ashley Harris helps Sergeant Nathan Harris, her husband, in Hell and Back Again / Courtesy Docurama Films
"We are experts in the application of violence," a commander tells a line of soldiers before they deploy. The camera cuts to men sitting in the cabin of a helicopter anxiously checking their guns and, seconds later, to a young marine bellowing on the battlefield as order disperses into the shouting chaos of war. Shot literally from the hip, the first five minutes of the documentary Hell and Back Again take place outside a remote village in southern Afghanistan, where the audience is dropped into the scuffle of Echo Company, 2nd Battalion of the 8th Marines, landing behind enemy lines and launching into battle. After the firefight, the camera quietly centers on a marine watching a heavy body bag carried by.
It is this kind of empathetic and poignant construction that won filmmaker Danfung Dennis the Sundance Film Festival Cinematography and Grand Jury Prizes for the documentary. The fight scenes screen like Platoon -- but they actually happened. Having the weight of verisimilitude, Hell and Back Again also delves into the inglorious aftermath of war, exploring the pains and challenges that face the marines both in Afghanistan and back home. The film's well-composed sequences, which have drawn comparisons to the work of Terrence Malick, flash from Dennis' time embedded with Echo Company in Helmand Province, Afghanistan, to his time living with Sergeant Nathan Harris in Camp Lejeune, North Carolina, as the young veteran recovers from a severe hip wound.
Some of the most affecting scenes are off the battlefield. In North Carolina, Harris comes across as a boy with an unnerving attachment to guns, a youthful exuberance, and a faith in God and his country that is just beginning to be challenged. At home, Harris wears an Ed Hardy-style shirt with the bold text "Affliction," tottering on his walker and joy-riding in the electronic wheelchair cart at the local Walmart. He pulls his sweat pants down to show a realtor the jagged scar across his bottom as he limps with his young wife through a prospective house.
As Harris contemplates his future, struggling to come to terms with the length of his convalescence, the audience gets a rare glimpse into the sort of identity crisis that many veterans face upon returning home. From a slump on his couch after a physical therapy session, he says, "I wanted to be a roughneck, to spit tobacco, and to kill the enemy. I was a young cowboy." It's a hard sentiment to hear, and yet somehow easy to understand. He continues, "Being a grunt is over, and that's the only thing I want to be."
Hell and Back Again is already provoking conversation. During a Q&A after a screening in New York City, a woman wanted Dennis to renounce the soldiers' violence walked out when he wouldn't. Several veterans later stepped up to shake Dennis's hand. One of them thanked him, saying in a rough voice, "I never would have thought being in Iraq would have been the easy part. I don't think anyone wanted to kill civilians, but we were put over there to do our jobs. And I appreciate you portraying what we had to go through."
Nothing about the film is sugarcoated. In one jarring scene, an Afghan soldier cut in half by a mine disintegrates on camera as marines attempt to lift him into a body bag. In another, Harris threatens his own wife with a gun. Such scenes will be new to the average American viewer, even if they're not to the thousands of American veterans of Afghanistan.
Perhaps Harris himself describes the last ten years of war the best. In a haze of painkillers, still aching from the bullet wound that shattered his hip, he tells the camera, "It costs a lot."
Yet Dennis carefully avoids preaching, focusing instead on innocuous details, whether it's the glaring lights of the pharmacy where Harris' wife picks up his medications or the sand plumes from the Marines' footsteps as they sweep surveillance in the desert. Hell and Back Again may well be the closest to the war that many Americans ever get.
After a screening on the night of the tenth anniversary of the war, I met director Danfung Dennis. He was polished and his hair neatly combed -- not what you might expect from the director of such a gritty film. The entire documentary was shot with a hand-held Canon 5D Mark II, at f2.8, on a 24 to 70 mm zoom lens with a depth of field of mere inches, a remarkable technical feat.
How did you go from taking still images to film?
I worked for a number of years as a still photojournalist in Iraq and Afghanistan and even though my images were being published in magazines and newspapers, I felt like they weren't having any impact. People were numb to these images, and I was frustrated with the medium and decided to move into a different way to tell the story.
In July 2009, I knew of a very large operation that was happening. Four thousand Marines were being dropped behind enemy lines in the largest helicopter assault since Vietnam. I asked to go with the Echo Company because they were going the furthest behind enemy lines, to seize a key canal crossing. After we landed we were surrounded by insurgents. Extremely heavy fighting broke out, focused around this pile of rubble that became known as "Machine Gun Hill." This is what you see in the first scene [of the movie]. That first day a marine was killed and a dozen collapsed from heat exhaustion. Almost all of us had run out of water and it was 130 degrees. This was one of the most dire situations I'd been in. That's when Sergeant Harris passed me his last bottle of water and we first met.
I didn't know it was going to be a story about one marine or a story about coming home from war; it was just a natural progression. It wasn't until 6 months later, when the marines were stepping off the buses that I realized Nathan [Harris] wasn't there. I asked, "Where's Sergeant Harris?" and the guys said, "He was hit two weeks ago." So I called him up, just as he was leaving the hospital. He'd been medevac'd back to the U.S., he'd had half a dozen surgeries, he was in extreme pain, and feeling very guilty for leaving his men behind.
He invited me back home to his hometown in North Carolina and introduced me to his wife, his friends, his family, as "this guy who was over there with me." And that carried a lot of weight. Instantly, I was accepted into this very rural Baptist community, and I essentially lived with him and Ashley during his recovery and his transition between this world of life and death, blood and dust, and this world where it feels like everyone's at the shopping mall. The story became much more about this psychological personal struggle and what it's like to transition. I knew I had that structure and so worked very closely to build those two worlds together.
Have you had people interested in what your political message might be?
This film is completely non-political. I didn't have a message, left or right. I wanted to bring this tradition from photojournalism where you simply let what happens in front of the lens unfold. My job is to witness and show others in the most honest and truthful way. I'd say I have the same number of people who see this film that are very pro-military and think this is pro-military, and others who think it is an anti-war film. I think we achieved something by creating something that is almost a Rorschach ink test, where you see what you want to see. My intention was just to give an intensely personal, subjective experience of what it's like to go to war -- and what it's like to come home from it.
What was the response from the military?
I'll start with Nathan's response -- he didn't see any footage during the process, he really had to trust me to tell the story. It wasn't until the film was finished that Ashley, Nathan and I sat together in a theater and watched it. It was very emotional, very difficult for them to see. At the end when the lights came up, they looked at each other and said, "It was perfect." I've had very strong responses from many veterans and servicemen who see it. While it's the story of just one marine, they identify with it. They finally have a way to convey something that's very difficult to communicate. These experiences are extremely difficult to talk about; they're so traumatic. So I've gotten a lot of thanks for trying to tell their story.
To watch what you saw and recognize you're getting so close to the violence was impressive. What was shooting it like?
I built a custom camera system. I knew I'd be in very difficult conditions. I wanted to bring the power of the still image that I had been trained to convey, so I used a Canon 5 D Mark II. It's a stills camera that shoots very high quality HD video. But it has tremendous downsides. It was never designed to shoot film. It would overheat after a couple minutes of filming, and so I'd just have to shut down and wait for it to cool down before I could shoot again. I attached mounts and microphones, and put all of that onto a steady-cam-like device with weights on it, balanced in such a way that I could be running, and the marines could be running, and [I'd] still get steady tracking shots. I wanted to borrow from the language of cinema, combined with the power of photojournalism and photo-documentary film making. When I came home, I had about 100 hours of footage.
How's Sergeant Harris doing now?
We're still in very close touch. He's still an active duty Marine. He's in the Wounded Warriors Regiment. He's still going through a lot of physical therapy. He's not off his medication. A lot of them are no longer having the same impact as his tolerance has [been] raised. He still has quite a lot of pain. It is a pressing problem -- you come back with these horrific injuries. The body armor and the medical systems in the field have gotten so good that many of these men are coming back with injuries we've never seen before -- both physical and psychological, especially in repeated deployments. So they do need these meds, but they're the equivalent of heroin and morphine in their synthetic forms -- the [veterans] need the [drugs], but they're extremely addictive. His doctor says he's too young to be addicted to opiates. It's an entirely different struggle that comes with that form of injury.
Courtesy Docurama Films
He just recently started psychological counseling and he's still together with Ashley. She's an amazing woman, so patient, always there for him, but she's been through a lot. She's really tired. He's probably going to retire with medical benefits. But he's struggling with his identity. He was a shepherd of men; he had this purpose, a mission. He came back home badly wounded and he realizes he can never do what he did before. He's not quite sure what could fill that same sense of meaning.
By using non-documentary, feature-film techniques, were you ever worried you might lose the reality of the experience?
When I first started showing people footage without much context, almost the first thing they would ask is, "Is this real?" because they hadn't seen anything like this before. I was trying to use a lot of photography techniques: shallow depth of field, shooting in low light, and composition, making something aesthetically powerful. There are times when people almost forget this is a documentary so when it hits them -- "This is real" -- it hits them that much harder.
You can have your politics, but [veterans] should get the support they need when they get back. One of my hopes for this film is that it starts discussion about the war. That was one of the most disturbing things when I got back -- no one talked about it. We had just come back from this extremely traumatic, violent world, and back here it was something distant, far away. People thought of it as an idea, it was maybe two minutes on the news once in a while, and it was easy to think of it as an abstraction -- it wasn't real. That was very disturbing to me, it was hard to reconcile. It was very disorienting to come back and not be able to communicate.
The American republic was long safeguarded by settled norms, now shattered by the rise of Donald Trump.
A long time ago, more than 20 years in fact, the Wall Street Journal published a powerful, eloquent editorial, simply headlined: “No Guardrails.”
In our time, the United States suffers every day of the week because there are now so many marginalized people among us who don't understand the rules, who don't think that rules of personal or civil conduct apply to them, who have no notion of self-control.
Twenty years later, that same newspaper is edging toward open advocacy in favor of Donald Trump, the least self-controlled major-party candidate for high office in the history of the republic. And as he forged his path to the nomination, he snapped through seven different guardrails, revealing how brittle the norms that safeguard the American republic had grown.
Interbreeding with our fellow hominins appears to have helped humans survive harsh climates.
Early human history was a promiscuous affair. As modern humans began to spread out of Africa roughly 50,000 years ago, they encountered other species that looked remarkably like them—the Neanderthals and Denisovans, two groups of archaic humans that shared an ancestor with us roughly 600,000 years earlier. This motley mix of humans coexisted in Europe for at least 2,500 years, and we now know that they interbred, leaving a lasting legacy in our DNA. The DNA of non-Africans is made up of roughly 1 to 2 percent Neanderthal DNA, and some Asian and Oceanic island populations have as much as 6 percent Denisovan DNA.
Science says lasting relationships come down to—you guessed it—kindness and generosity.
Every day in June, the most popular wedding month of the year, about 13,000 American couples will say “I do,” committing to a lifelong relationship that will be full of friendship, joy, and love that will carry them forward to their final days on this earth.
Except, of course, it doesn’t work out that way for most people. The majority of marriages fail, either ending in divorce and separation or devolving into bitterness and dysfunction. Of all the people who get married, only three in ten remain in healthy, happy marriages, as psychologist Ty Tashiro points out in his book The Science of Happily Ever After, which was published earlier this year.
Social scientists first started studying marriages by observing them in action in the 1970s in response to a crisis: Married couples were divorcing at unprecedented rates. Worried about the impact these divorces would have on the children of the broken marriages, psychologists decided to cast their scientific net on couples, bringing them into the lab to observe them and determine what the ingredients of a healthy, lasting relationship were. Was each unhappy family unhappy in its own way, as Tolstoy claimed, or did the miserable marriages all share something toxic in common?
Outrage over transgender bathroom use is just the beginning of a long conflict over what it means to be men and women.
In April, the state of Mississippi did something unusual. It made the definition of man and woman a matter of law: “Male (man) or female (woman) refer to an individual’s immutable biological sex as objectively determined by anatomy and genetics at time of birth.”
The Magnolia state is not alone in grappling with the meaning of gender and sex. This spring, after North Carolina’s legislature ordered public agencies and local school boards to allow people to use only public bathrooms that correspond to their biological sex at birth, the U.S. Department of Justice announced it is suing the state. A similar bathroom bill was passed and vetoed earlier this spring in South Dakota. And the people of Washington will vote on a bathrooms ballot initiative in November.
Oregon, one of the whitest states in the union, also has one of the most generous safety nets. Is that a coincidence or something more troubling?
SALEM, Oregon—In much of the country, poor people are finding that there are fewer and fewer government benefits available to help them stay afloat. But here in this progressive corner of the Northwest, the poor can access an extensive system of state-sponsored supports and services.
In Oregon, a higher share of poor families is on welfare (now called TANF, or Temporary Aid to Needy Families) than in most states. The state has some of the highest food-stamp uptake in the country. It subsidizes childcare for working parents, asking the poorest of them to contribute as little as $27 a month. It helps people get off of welfare by linking them to employment and paying their wages for up to six months, and then allows them to continue to receive food stamps as they transition to higher wages. Families can be on welfare for up to 60 months, as opposed to 24 months in many other states, and once the parents are cut off due to time limits, their children can still continue to receive aid.
A real-time chronicle of Donald Trump’s unpresidential statements.
People will look back on this era in our history, to see what was known about Donald Trump while Americans were deciding whether to choose him as president. Here’s a running chronicle from James Fallows on the ways in which Trump has been unpresidential in an unprecedented way, and of the evidence available to voters as they make their choice. (If you’d like to flag examples to include, please let us know.)
He lives near San Francisco, makes more than $50,000 per year, and is voting for the billionaire to fight against political correctness.
For several days, I’ve been corresponding with a 22-year-old Donald Trump supporter. He is white, has a bachelor’s degree, and earns $50,000 to $60,000 per year.
He lives near San Francisco.
“I recently became engaged to my Asian fiancée who is making roughly 3 times what I make, and I am completely supportive of her and proud she is doing so well,” he wrote. “We’ve both benefitted a lot from globalization. We are young, urban, and have a happy future planned. We seem molded to be perfect young Hillary supporters,” he observed, “but we're not. In 2016, we're both going for Trump.”
At first, we discussed Bill Clinton.
Last week, I wrote an article asking why Trump supporters aren’t bothered that their candidate called Clinton a shameful abuser of women who may well be a rapist. After all, Trump used to insist that Clinton was a victim of unfair treatment during his sex scandals. Either Trump spent years defending a man that he believed to be a sexual predator, even welcoming him as a guest at his wedding, or Trump is now cynically exploiting a rape allegation that he believes to be false.
For 50 years, Bassick High School in Bridgeport, Connecticut has been neglected and underfunded—despite being just a few miles from extreme wealth.
BRIDGEPORT, Conn.—The inequalities that afflict Connecticut’s largest city have been evident since 1961, when the veteran journalist Nancy Hendrick wrote a blistering column in the Bridgeport Sunday Herald.
“[F]or quite a few years now not enough people in Washington have cared what's happening here—and in a hundred other Bridgeports across the country,” she wrote. “What frustrates us is that in this crowded, unplanned, unlovely city, there is so much to be done that no one can tell where to start.”
Later that week, The Connecticut Post reported that when state educators came to Bridgeport to evaluate Bassick High School, they praised the teachers but balked at the city’s lack of financial support—noting that students were forced to pay for their own books, science equipment, globes, and maps.
Why do reality television’s most popular stars so uncannily resemble the heroines of the 19th-century writer’s work?
One of the more unconventional fairytales of our time involves a brilliant schemer, famous almost entirely for her physical attributes, who finds herself a single mother after her partner abruptly departs. Intent on bettering her situation, the woman pursues the wealthy and eligible son of a noted family, several members of whom she’s already intimately involved with. His relatives panic. But the man remains besotted with the woman, whose meticulous plotting and social savvy make him ever more intent on proposing marriage to her.
The person in question is, obviously, Blac Chyna. She’s also Susan Vernon, the antiheroine at the center of one of Jane Austen’s earliest works, Lady Susan. Their resemblance on the face of it might seem completely absurd: Blac Chyna, born Angela Renée White in Washington, D.C. in 1988, is a model and former exotic dancer best known for her romantic relationship with the rapper Tyga, her friendship with the reality-TV star Kim Kardashian, and the complications that have ensued (currently being televised on Keeping Up With the Kardashians) when Tyga started dating Kim’s sister and Chyna became pregnant with Kim’s brother’s baby. Lady Susan Vernon is a fictional character created by Austen in 1794 or so—an English widow in her mid-to-late 30s who idles away her hours in the stately homes of her aristocratic acquaintances and is described as possessing “an uncommon union of symmetry, brilliance, and grace.”
A new report estimates nearly 46 million people live in contemporary slavery, more than half of them in five countries.
This year, researchers surveyed residents of 15 states in India and asked them what it is like to live in conditions of contemporary slavery—the term used to describe human trafficking, forced labor, sexual exploitation, and other forms of illegal enslavement in the 21st century.
“I was physically and sexually assaulted when I was working in the field. I had also threat on my life and on my family,” said one unnamed person who was in bonded labor, a type of exploitation in which people are forced to work to repay debt, real or assumed. Another person, who was made a street beggar, said: “Though I am begging I am not paid a single amount. I have to deposit all to them. I am deprived of food and good sleep.”