In a frustrating documentary, the journalist Ibrahim Nash’at shows the Taliban after American troops left Afghanistan.
There is no question that the director Ibrahim Nash’at faced tremendous danger in shooting “Hollywoodgate,” but the risks required to make this documentary also highlight its limitations.
Nash’at, an Egyptian journalist based in Berlin, traveled to Afghanistan in 2021 shortly after American troops had left. He negotiated a tenuous arrangement with Mawlawi Mansour, the new commander of the country’s air force, to film him and a lieutenant named M.J. Mukhtar.
In a voice-over at the outset, Nash’at explains the terms. He has been forbidden to film anyone who is not Taliban, he says, and he is under constant surveillance. In return for access, he adds, “I must show the world the image of the Taliban that they want me to see.” But he hopes simply to show what he saw.
Nash’at, who handled his own camera and sound, is, to his credit, transparent about some gaps. When going to inspect a group of aircraft, Mansour doesn’t want the filmmaker to show them. (Nash’at nevertheless zooms in toward a few planes across the tarmac.) During a nighttime operation in which Mukhtar apparently hopes to root out people hostile to the Taliban, Nash’at is instructed, “The cameraman stays here.”
What remains are Mansour and Mukhtar presenting themselves with varying degrees of self-consciousness (it is amusing when Mansour, after trying out a treadmill at a former American gym, asks that one be sent to his home so he can lose belly fat), and the Taliban’s public pageantry. Nash’at notes at the end that he was kept from filming the daily suffering of regular Afghans. The frustration of “Hollywoodgate” is that it could only ever feel incomplete.
Hollywoodgate
Not rated. Running time: 1 hour 32 minutes. In theaters.
Source: Movies - nytimes.com
