LFF 2014: Camp X-Ray

Kristen Stewart swaps everlasting life for suicide watch, in a moving two-hander set inside Guantanamo Bay

share this article

You talking to me? Kristen Stewart and Peyman Moaadi find there's no-one else in 'Camp X-Ray'

What can another film about American malfeasance in its War on Terror add to our knowledge and disapproval? Camp X-Ray has too narrow a scope to offer much; yet it’s impossible not to be affected by its depiction of utter hopelessness for those illegally imprisoned in Guantanamo Bay.

Written and directed by Peter Sattler, it stars Kristen Stewart as a female private, Amy Cole, posted to the base where soldiering takes on the role of prison guard. Peyman Moaadi is Ali, an innocent detained for eight years and with no end in sight, whose determination to connect, with anyone, will slowly erode the certitude of a woman who enlisted “to do something important.”

Moaadi, so good in 'A Separation', is again mesmerising

Tangentially the film offers a procedural of what is, effectively, a never-ending suicide watch; as such, it’s limited to stereotypes and by the problems of depicting a world far more physically restrictive and dehumanised than conventional prisons. Sattler’s decision to withhold personal histories and political context can be frustrating.

But his focus is the two-hander between the private and the prisoner, lent shade and intensity by two excellent performances. Stewart, in almost every scene, convinces as the strong-willed but inchoate Amy, with her own issues as a woman in a male-dominated world. Moaadi, so good in A Separation, is again mesmerising – traversing the anger, despair, melancholy and sweet eccentricity (Ali’s obsession with the Harry Potter books) of a man who knows he may never be free again.

Add comment

The content of this field is kept private and will not be shown publicly.

Plain text

  • No HTML tags allowed.
  • Lines and paragraphs break automatically.
  • Web page addresses and email addresses turn into links automatically.
His focus is the two- hander between the private and the prisoner, lent shade and intensity by two excellent performances

rating

3

share this article

the future of arts journalism

You can stop theartsdesk.com closing! 

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

more film

Russia's Tarantino's Hollywood debut is derivative but delirious
A lawyer sinks into a bureaucratic quagmire in a darkly humane Stalinist parable
Taut, engrossing low-budget thriller from an underrated director
The Italian star talks about his third portrayal of an Italian head of state
Sorrentino's latest political character study is cast in shades of grieving grey
Ryan Gosling fights to save Earth in a family sf epic of rare optimism
The little guy against the system: Bill Skarsgård and Dacre Montgomery star
'One Battle After Another' is the big winner over 'Sinners' amid a leaden Oscars that mixed impassioned politics with too much painful filler
A curious, cautious tale about sampling the Führer’s grub
Hlynur Pálmason creates an entrancing, novel form of film-as-memory
Director Rebecca Ziotowski gives Jodie Foster a free rein in French
Jessie Buckley and Christian Bale are a scream as lovestruck monsters on the run