Call Them Up in Dreamland
One of the best pieces of visual reportage to have emerged from the war in Iraq, the documentary Occupation: Dreamland achieves a remarkable degree of intimacy with the Armys 82nd Airborne Division stationed in Falluja in early 2004, as the city trembles on the brink of explosion. I think the soldiers felt they could have a different relationship with us because they knew the film wouldnt be broadcast right away, says Ian Olds, who co-directed the movie with Garrett Scott. We just werent in their faces as much as the journalists who would have to press them for stories immediately. We heard people asking them questions like, How does it feel to kill people? Given the militarys tight-lipped relationship with the press, the soldiers candor in Dreamland can be startling. I think the guys who were about to get out, who had done their time and were fed up, didnt have much to fear, Scott says. The people who were less willing to speak were either invested in a military career or had several years to go. Of course, there were plenty of people who were all for what they were doing. You had a range of ideological identification, but also just the kind of alienation you can feel with any job. There were also plenty of people who had great doubts about what they were doing and werent going to tell us that, because youre never alone there.
To read Jessica Winter's review of Occupation: Dreamland, click here.
Despite its implicit anti-war stance, Dreamland presents a sympathetic portrait of young, often confused soldiers who struggle to carry out futile or self-contradictory orders while the city grows palpably more hostile to their presence as can be sensed in their brief, edgy street-corner meetings with locals (Be careful of Falluja, one man warns). Everyone knew it was absurd, including the Iraqis, Scott says. Can you imagine, an officer locks eyes on you, hes heavily armed, and you have to talk to him? But there were some interesting interactions, because [the locals] would gather around and want to hear what they were saying. It would turn into this venting process.Scott and Olds left Falluja with the 82nd Airborne not long before the city plunged into chaos. Falluja wasnt on the map back in the States while we were there, but everyone in Iraq knew about the potential for violence, Olds says. By a couple of weeks after we got back, it was a key point on all the maps on TV. You can see moments in the film more clearly in context of what happened later. The filmmakers previously collaborated on Cul de Sac: A Suburban War Story (directed by Scott and edited by Olds), a bleak tale of the boom and bust of defense-industry-dependent Claremont, California, punctuated with chilling footage of army vet Shawn Nelson speeding a stolen tank through residential streets. Olds says, People ask, Do you have to have a tank in every movie? Scott provides the answer: It isnt me, its U.S. foreign policy. I just got swept up in it. For Dreamland, Scott and Olds felt some initial ambivalence about their embedded status, especially during the night raids on residential Iraqi homes to uncover suspected insurgents. We went in there with the fearful idea that we couldnt overcome the position we were in. It often felt like we were just doing an episode of Cops, Scott says. From the Iraqis position, all we did was add insult to injury, he continues. Its the worst possible thing, to take the men out of the house, scare everybody, turn their house over, march over everything with your boots, totally destroy all the rules of hospitality, trespass like nobodys business, and then, on top of all that, go into this most private inner sanctum with two video cameras recording it all. These women are looking at me, and Im thinking, This is who I am, this is what Im doing right now. Its never going to make any difference to them if what we end up doing is somehow for a better purpose. We talked about this if you see something horrible and you dont agree with it, do you just stop? Or do you keep going?Dreamland is rolling out in theaters across the country, and recently screened in Fayetteville, North Carolina, home of the 82nd Airborne. Once the first screening was over and after a few tense moments, Olds reports, a soldier who was in Falluja stood up and said, Thank you. You captured all the tension and frustration we were feeling exactly, and I just hope everybody will have a chance to see this. Then one after another, other soldiers began to stand up and talk about how great it was that this kind of record existed. At the other end of the spectrum, at the New York screenings anti-war activists have been telling us how crucial it is to see the war in this unmediated form. Such positive responses are in turn crucial to the filmmakers. Theres a real danger of misapprehension, Scott says, because the movie is trying to demystify these indistinguishable figures in body armor. Theres an amazing world inside each of them.
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