Monday, September 29, 2014

Last Hijack












Last Hijack is playing on October 3 at the New York Film Festival.

A recent wave of films about Somali pirates cleaves to the pattern one culture usually follows when incorporating stories from another into film. The first generation of features dramatizes a phenomenon from the point of view of the culture that produces the films; the second looks at it from the perspective of the culture in which the story is rooted. It usually takes years for that cycle to play out (just think how long it took mainstream American movies to explore race relations from an African-American perspective), but the Somali pirate movies emerging from the West have condensed it into just a couple of years. In 2012 and 2013, A Hijacking, Captain Phillips, Stolen Seas, and The Project adopted the perspective of white people, most of them Europeans and Americans, who were being held hostage by, negotiating with, or trying to outwit pirates. This year's Last Hijack, like another 2014 documentary, Fishing Without Nets, constructs its narrative around one of the pirates, focusing not so much on what he does as on why.


Last Hijack's Mohamed is no flashy Hollywood antihero, with his un-showy affect, slightly buck teeth, plump face, and doughy body (his little pot belly, the only one in sight, is probably a sign of his success), but the money he made in past hijackings has bought him visibility and respect in his small hometown. That respect is a big part of why he keeps returning to piracy, he says—that and the fact that it nets him far more than he could earn doing anything else, making it possible to have a nice car and several wives (at the peak of his earnings he had four, though they're all history by the time we meet him). The film's frequent animated sequences, which are used to illustrate episodes in Mohamed's imagination as well as his past, suggest a few other answers to the question of his motivation by illustrating the narrowness of his options and his nation's instability, including the flood that drove his family off their farm when he was young, the tribal wars that killed his brother and wounded his father shortly afterward, and the robberies his father then resorted to for money. When the animated Mohamed goes into pirate mode, morphing into a gigantic raptor that soars over the ocean, flapping down to grasp a big ship in his talons and carry it off, it's easy to imagine the sense of freedom, power, and control that piracy gives him.

The rest of Mohamed's life, as we see in the live action sequences, is characterized mainly by aimlessness and frustration. Read the rest in Slant Magazine

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