Danger Zone

The image of children holding weapons is a familiar aspect of war. In the late capitalist world, where everything, even war, turns into a commodity, adults too wield weapons, not for warfare but to capture photographs.

With frequent militaristic conflicts worldwide, war tourism is on the rise. In her documentary, Lithuanian director Vita Maria Drygas sheds light on the phenomenon. The film revolves around four key characters, Rick, who organises such tours; Eleanora, a tourist in Afghanistan; and Andrew and AJ, who explore Mogadishu as war tourists.

While these characters have distinct backgrounds, their motivation is a common one: to be a part of something more intriguing and distinct from their everyday lives. Despite their stated desire to "help" the victims, they remain, at their core, tourists. They view war's victims as exhibits, take photos near demolished areas, and seek alternative forms of amusement. Their encounters remain shallow, marked by a veneer of fake bravery and a penchant for bragging.

While the concept behind the film is intriguing and fresh, the director's choice of presentation must also be significant. Danger Zone is a documentary, yet at times, the scenes on-screen feel artificial and orchestrated. The actions portrayed do not resemble genuine moments but rather evoke a child's playfulness, laced with irony and sarcasm. It seems like the characters are portraying a subpar version of themselves.

Film editors Milenia Fiedler and Kamil Niewinski have opted for a rapid editing style. The constant shifts in shots create a visual akin to an advertisement. While this montage style may serve the purpose of highlighting superficiality and irony within the film, it can complicate the audience's ability to grasp the authentic narrative.

The primary aim of the film is to highlight the absurdity and foolishness of the characters' journeys and experiences. It exposes their God complex, the belief that they can 'save' the locals. The director underscores this narrative with scenes, such as Somali children reaching out for money through bars. However, when handling such a sensitive story, it's crucial for the director not to inadvertently engage in the orientalism she critiques. At times, when the characters' absurdity gives way to polished war scenes, it appears that the director herself may be detached from the war's reality, much like the characters.

Furthermore, it's essential for every thought or idea to unfold organically for the audience, rather than being presented directly. The film occasionally includes brief, artificial interludes where it seems like the director conveys her thoughts through the characters in a direct manner. An example of this is Eleonora's final conversation with her friend.

When authors tackle sensitive subjects like war, they should exercise more responsibility and avoid manipulating emotional images. Danger Zone takes a crucial step by addressing the complex topic of war tourism, though in certain respects, it becomes a victim of the very criticism it raises.