Erasing David

Starring: David Bond
Directed by: David Bond, Melinda McDougall
Genre: Documentary
Runtime: 1 hour 20 minutes

If you consider yourself to be a paranoid person, than it might be best to stay clear of David Bond’s feature length documentary, or risk inflaming your paranoia to the point of hysteria. Erasing David is a fascinating, and often chilling, exploration into how much personal information is stored in government and corporate databases. But also how easily this information can be misconstrued to the detriment of the individual, or even more frightening, used to hunt you down.

Following the arrival of a letter informing him that his daughter Ivy is among 25 million residents whose details have been lost by the government, David Bond decides to leave his family behind for one month in an attempt to achieve total anonymity. On his tail are two private investigators that will use whatever means to track him down before the end of the thirty days. Bond hopes that by disappearing he will be able to prove the extent of surveillance that is now an unconscious part of everyday life for the average British citizen.

David Bond is a likeable everyman and makes an appealing protagonist to the piece. I only wish that the chase across Britain and Europe, which provides much of the dramatic narrative to the documentary, was as enthralling as some of the discoveries he makes in his investigations. We learn about information collated by Internet providers, victims of faulty criminal databases, surveillance cameras and new measures taken by schools to register pupils by their fingerprints. All of which makes for riveting viewing that is undermined by a rather sorry excuse for a manhunt.

Bourne Supremacy this is not. At times it feels a little condescending (and laughable) watching professional detectives searching through bin bags and glancing at Facebook pictures in order to piece together Bond’s life. It does exemplify the infringement of privacy that we all face on a mundane level, but is contradicted by the melodramatic tone of the chase.

All in all Erasing David does make compelling viewing when you consider the evidence that Bond uncovers. It’s often humorous and terrifying. Just don’t expect much from the hunt.

3/5

Lebanon

Samuel Maoz, Israel / Germany 2009, 93 min.

Hebrew with English subtitles
Screenplay: Samuel MaozCast: Yoav Donat, Itay Tiran, Oshri Cohen, Michael Moshonov, Zohar StraussPhotography: Giora BejachEditor: Arik Lahav-LeibovichMusic: Nicolas BeckerProduction: Metro Communications; Uri Sabag, Einat Bikel, Moshe Edery, Leon Edery, David Silber, Benjamina Mirnik, Illann Girard

Set within the confines of a military tank, Lebanon follows the traumatic experiences of four young soldiers one day during the first Lebanon War. Their inexperience and courage is put to the test when they are commanded to infiltrate a hostile town recently bombarded by the Israeli Air Force. What should be a routine mission quickly dissolves into horror and the four young strangers battle to keep their humanity in the most hellish of circumstances.

The second feature by Israeli director Samuel Maoz is an impressive if emotionally stunted journey about the insanity of war. Drawing on personal experiences, Maoz clearly wants his audience to witness firsthand the spontaneity and disorientation of the battlefront. Sound effects, lighting, and camerawork are deployed with spectacular effect to create a sensory overload that will leave you gasping for air.

The claustrophobia of the tanks interior is brought to life through the production design of Ariel Roshko and proves aesthetically challenging throughout the duration of the film. The tank oozes oil, belches steam and growls with metallic malice, as if it were a beast swallowing up the audience in its wake. The experience is almost a bombardment of the senses, akin to a theme park ride, drawing you into the moment but leaving no lasting impression.

Although the performances are heartfelt, the script offers no new interpretation of the dilemma of being a soldier. Ego’s battle it out whilst macho positioning is promenaded like many a good war film before. The atmosphere within the film is so tense that there is very little time to reflect on what’s really going on internally with the characters.

This isn’t helped by the way we witness the dramas taking place outside the confines of the tank. The crosshairs of the tanks gun sweep across the town, focusing on the faces of victims, blood stained rubble and the confusion of gunfire. These are the moments that should really disturb the audience into a realisation of the consequences of war, but instead comes across as emotionally contrived. It’s almost as if you are watching the cut away scenes from a tasteless video game.

That isn’t to say that the film misses the point entirely. Maoz has succeeded in creating a realistic depiction of life within a tank. You really can feel the heat of the hissing pipes and the vibrations of the engine. But what should be an arresting emotional exploration of the war torn soldier merely becomes an aesthetical trip at the cinema.

3/5