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‘The Square’: In Tahrir Square, Beyond Simplistic Headlines

'The Square': In Tahrir Square, Beyond Simplistic Headlines

Television coverage of the political upheavals in Egypt over
the past two years, especially the protests in Tahrir Square, was almost always
defined by the reporters’ distance from events. Even correspondents on the
ground surrounded by chaos sometimes exuded a sense of voyeurism, or  — even worse — a self-congratulatory aura of
being in danger, the “Look at how tough I am” pride you see in all
those fools in rain slickers standing upright in hurricane-force winds. The reporting
from Egypt was valuable and the danger real, of course, but the coverage wasn’t
considered “foreign news” for nothing, even when referred to with the
more enlightened “international news” rubric.  

Jehane Noujaim’s galvanizing documentary The Square offers a rare, first-hand
account, which goes beyond presenting graphic footage of violence in Tahrir
Square (although it does that too). With great immediacy and complexity, the film
follows several activists trying to shape Egypt’s future, even as that future
slips and slides in new directions.

The Square begins
with protesters working to overthrow the long-time dictatorship of Hosni
Mubarak, and the first version of the film, shown at Sundance last year, ended
with the election of the Muslim Brotherhood candidate,  Mohamed Morsi. For the final version, opening
now,  Noujaim returned to Egypt and followed
the same activists as they faced the immense disappointment of Morsi himself
assuming dictatorial powers. The reversal was more shocking to some than
others, because Noujaim carefully chose the people she would follow, each with a
distinct persona and political perspective.

Her major players are Khalid Abdalla, (an actor in The Kite Runner), who returns to Egypt
after years of having lived in London. He is the most media-savvy figure we
see, sophisticated about how to send a global message; maybe it’s no
coincidence that he is also the most skeptical about  political promises.

Ahmed Hassan, in his 20’s, is the charismatic image of youthful
idealism and determination. But the most unusual figure, by American standards,
is Magdy Ashour, a member of the Muslim Brotherhood, a father in his 40’s who
was tortured under Mubarak and who faces the most intense personal decision
when his candidate, Morsi, turns out to be more villain than hero.  It’s rare to see someone who believes in a
religious-based government presented in such human terms; he could so easily
have been demonized.

These characters know each other, sometimes fighting side by
side, sometimes arguing, as they try to maneuver into a future with no clear landmarks
or easy answers. The film ends when Morsi is ousted from office and his
supporters attacked in the square, but the film’s characters are left with some harsh yet essential questions. Was his election an improvement, however compromised, or
more of the same?

The focus on a few real-life characters gives The Square a conventional shape. This is
not the kind of film you go to for dazzling artistic innovation. But Noujaim,
an Egyptian-American, has a valuable perspective and a rigorous intellect. As she did in Control Room, focusing on  Al-Jazeera’s coverage of the U.S. war in Iraq,
in The Square she provides a smart,
eye-opening view of a subject that homogeneous American news outlets often
handle with blithe simplicity.  

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