When the Egyptian revolution occurred in 2011 and the 2013-2014 Euromaidan protests followed in Ukraine, unless you were on the ground experiencing the catastrophic political turmoil, it was difficult to begin to comprehend the true sequence of events or how the people were responding to them.
Luckily, there is film, and people use film to make documentaries, to tell these stories. Sometimes, they are brave and take their cameras into war zones because they actually care about showing other people what is happening in their country. The filmmakers of both“The Square” and “Winter on Fire: Ukraine’s Fight for Freedom,” assumed that bravery to chronicle the events surrounding both revolutions.
The cultural differences between the two countries are stark, it’s true, but the common element within both of these films is that they show people of all ages taking refuge in a central gathering place, a square that already holds cultural and historic significance. They claim it as their own, camping there for months in spite of the barrage of militancy exercised against their calls for accountability and independence from the government.
In 2011, around the time that the Arab Spring was taking place, I was in Berlin conducting interviews with different people there and in Egypt for an anthropological research paper about Egypt opening its border with Gaza. One of them, Mohamed Shoukry, a real estate agent living in Alexandria at that time, offered incredible insight into the situation depicted in “The Square.”
“A lot of people are in the political sphere who never appeared before the revolution. Their intention is to root out the corruption in Egypt, but this will take some time,” Shoukry said. “Even though now we may have been able to cut off its head, it has strong roots.”
“The Square” starts off with a bang, a gripping sense of immediacy that spares nothing on the imagination of the violence waged against the protesters who called for President Hosni Mubarak and the military to be deposed. We are introduced one by one to the activists playing a central part in speaking out against the oppressive Mubarak regime, a spectrum including reserved British-Egyptian actor and activist Khalid Abdalla and a bright, young idealist named Ahmed Hassan.
The footage of Egyptian-American director Jehane Noujaim being chased by the military for documenting the event will render the audience shaken, and as the announcement of Mubarak’s concession is proclaimed, the fear and anxiety felt for the activists melts into joy. But wait…it’s not that far into the film now, right? Exactly. This is what makes “The Square” unpredictable and the emotional energy of its characters captivating.
The motif throughout the film is a vibrant mural depicting the success of the revolution in colors representative of the people’s joy toward Mubarak’s ousting. However, this is when the Shoukry’s insight helped place the revolution in greater perspective. The protesters optimistically retreated from the square, in pursuit of something resembling a democracy and someone resembling a responsible leader. That optimism is challenged, however, when the military seizes control shortly after the resignation of Mubarak. He was going to stand trial for the murder of peaceful protestors in this time, and was sentenced to life imprisonment. However, his acquittal for this crime caused the protesters to return to “The Square”, and a new chapter in the film chronicles their growing despair.
Magdy, another activist and member of the Muslim Brotherhood, brings an interesting dynamic to “The Square”, particularly when the Islamic group expands political leverage and influence after Mubarak abdicates office. The other activists, who are not particularly religious, are shown in the film as being on fair terms with Magdy. As The Brotherhood assumes growing power, however, and becomes increasingly brutal and militant toward the secular protesters, the relationship between Magdy and the other activists complicates.
The Armed Forces offer to supply The Brotherhood with weapons and political power within the government if they betrayed the revolutionaries. There are other sources, however, specifically one in the Washington Post, that claim The Brotherhood was portrayed inaccurately in the film and their image distorted falsely by the cosmopolitan activists in Tahrir Square.
“Politics is not the same as revolution. If you want to play politics, you have to compromise,” Abdalla says.
At the same time, he points out how The Brotherhood was the only strongly organized group amongst the crowd, and as the enthusiasm died down, it became evident who the players were: The Brotherhood or the old regime, now fronted by the military.
“It was a war in the square, not a revolution,” declares one of the other activists.
In 2012, when Morsi is “democratically” elected president, the growing agony is chronicled in the mural with a big, blood red line painted over his face. People take to Tahrir Square once again, and the protest exhibits an alarming new energy in communicating their rejection of another violent and oppressive leader.
At one point in the documentary, he states, “Enough of this. All the politicians are failures.” Walking in the middle of a (surprisingly) empty street in Cairo, he makes a metaphor of himself, declaring “I’ve decided to walk in the middle of the street. The cars can do what they want.” He asserts, “I will stand my ground, enough walking cautiously on the side.”
In contrast to the optimism at the start of the film, it is this point when the growing tide of pessimism returns, with Abdalla stating that the rebels’ mistake was “in leaving the square before the power was in their hands.” The Brotherhood had been working alongside the military regime and took power, which enhanced Magdy’s visible anxiety about which side to invest allegiance in.
When Morsi is ousted and sentenced to death, a sense of joy waves over the activists. Hassan, our charismatic guide, is revived from his dip into disillusionment at the news of the Muslim Brotherhood’s power play.
Hassan even calls up Magdy and speaks to him in a kind, jocular tone, showing that he did not want their relationship to be punctuated with the tension that had imploded between them when The Brotherhood had seized power.
The tone of the documentary, however, portends the uncertainty and volatile spirit of the events that have continuously been influencing the energy of the people. At the end, the film returns to Abdalla, whose serious, pensive demeanor stands out against Hassan’s fierce optimism.
“When you don’t have your rights, when you’re taken to the front, when you’ve been lied to, when you’re killed, things become pretty clear,” Abdalla conveys in a direct, sober manner.
Although, in the light of the context of Morsi’s ousting, this statement can be viewed as a victory, there is something about Abdalla that indicates he is not certain that Egypt will not continue to be politically volatile.
Red paint is shown dripping on the Converse of an artist working on the mural, a metaphor for how the young revolutionaries are influenced by secular culture and want to change the social and political mores of the country to align with ideals rejected as Western.
However, as returning to the mural throughout the film reminds us, there will be constant changes in the story of one of the greatest revolutions in the history of the world. With the Egyptian military in power, the story of whether or not the people remain as optimistic as they are portrayed at the end of the film remains fairly obscured at the moment.
“Winter on Fire” chronicled the November 2013-March 2014 protest that occurred in the Ukrainian capital of Kiev after then-President Viktor Yanukovych refused to sign an association agreement deal with the European Union, ultimately moving the country further into Russia’s circle of influence.
The documentary, directed by Russian filmmaker Evgeny Afineevsky, also places one in the middle of the action right away, showing how thousands of people who believed in Ukraine as a European nation took to Maidan (Independence) Square, a beautiful nexus in a capital symbolic of the ancient world (aligned by a medieval gate and an opulent cathedral) clashing with the modern, as fast food restaurants and hotels have popped up nearby.
It is once again the perfect place, as Tahrir was to Cairo, to symbolize the change that the people were waiting and looking for. After centuries of being tied to Russia under the Kievan Rus empire and beyond, they were hoping to become a modern, politically stable country.
The documentary is ultimately, I think, a bit more detached from the participants than “The Square” is. It feels more restrained and not so involved in their lives from the start, as you are not invited to know an integral set of activists. Here, the stories are magnified in-depth little-by-little as the film goes on.
That being said, the film, recorded by Ukrainian protesters, is a powerful testament to the joy and movement that was summoned forth when these events occurred and the people came together. Having travelled in Ukraine and other former Soviet countries, one of the most distinct characteristics of the people was their melancholy demeanour. Years of starvation, suppression, economic peril and corrupt governments leave the region besieged by continually grey skies and an underlying lack of hope. That suffering is and will continue to be prevalent radiates and looms outward amongst the thin, cobbled corridors of their broken cities.
The wonderful part of this film is that as the momentum gains, the people realize that this could be the opportunity they have waited and secretly hoped so long for and the hope begins to appear in their eyes. People of all ages gathered at Independence Square, a majority of them dressed mostly in black parkas but with a few colourful grandmas, speaking different languages. Jews, Muslims, Buddhists, the non-religious: they were all there.
There was another group the film did not cover: those people who internalized nationalism the most. After speaking to a friend of mine who had insider knowledge of the Maidan protests, I learned that nearly all the fighters on the “front line” were members of Ukraine’s neo-Nazi and right-wing parties. The movie, he said, left this fact out: that while the crowd was mainly a composition of people fighting for universal equality, there were also seedier elements that existed. These groups are, in a way, to the Maidan what the Brotherhood was to Tahrir.
It was, at its core, a peaceful protest, a loud call of disagreement with the government for giving up their chance to break away from the fringe status they maintained between Europe and Russia. There is a saying in Europe that I heard frequently: Poland is 10 years (development-wise) behind Germany, and Ukraine is 10 years behind Poland. This agreement would finally have kick-started Ukraine’s course into the European trajectory.
With snow falling on Independence Square, the atmosphere grows explosive as some protesters begin behaving violently. One of the peaceful activists opines that the Ukrainian riot police force (known as the Berkut) has planted people within the crowd in order to bring forth a reason for them to attack.
The cellos and violins that frame the events appropriately capture the restless melancholy throughout the film. The snow falls harder on the ancient square. The sparrows linger on the bare tree branches. An impending sense of doom lurks throughout the crowd, and an ancient church bell that had not been rung since the Mongol Tartar invasion in the 1240s grips everyone in its timbre.
Sure enough, the Berkut storms onto the square, descending like a swarm of locusts. Armed with iron rods, they attack, beating people viciously on the ground. A woman is shown leaning back against the tree. The blood stains on her face against the white wool hat she is wearing stand out as a pronounced metaphor, a taint against the purity of her idealistic behavior.
“Who gave birth to you, a mother or a wolf?,” one of the protesters asks, referring to the relentless brutality displayed by the Berkut.
There is, however, a discrepancy between how much blame the film levies on Yanukovych as the sole perpetrator and other factions of persecution taking place that were not mentioned.
“They paint Yanukovych as this blood-sucking demon of pure evil, but they miss the people who actually orchestrated a lot of the violence, like the people directly in charge of the Berkut police,” says Anton Guz, a graduate student pursuing a degree in peacebuilding and conflict transformation at SIT Graduate Institute in Vermont.
As the film goes on and the winter moves further along, the steam continues rising up from the make-shift kitchens and fires that the protesters have started in order to keep what has now become somewhat of an island alive. The supplies that became the fuel for the Maidan island were not revealed in the film. Specifically, volunteer drivers were bringing in medical supplies to the fighters and taking people to the hospital, as the roads to Kiev were blocked. There was a mass outcry of support for the protesters in Maidan, one of which, called AutoMaidan, was based in the western Ukrainian city of Lviv, a hub for nationalistic Ukrainian support.
The support and supplies brought in from various parts of the country fueled the ongoing struggle against the winter and the cold history that Ukraine did not want to continue to freeze itself into.
My favourite moments in the film, showing the peoples’ sense of humour and heart in the midst of a dim situation, were their responses to various bans placed on them by Yanukovych, one of which was ‘no helmets.’ They answered by putting on pots, pans, flippers, masks of all shapes and colours. It was quite unusual to see little babushkas roaming around this dystopian war zone with pots on their head, and the film juxtaposes this all-too-real-its-surreal element quite strongly throughout.
Guz was born in Ukraine and is quick to point out some aspects of the film that he found problematic, specifically Ukraine’s all-too-relevant relationship with Russia.
“I think that’s a nuance that’s dangerous to forget, since the master manipulators in this situation live in Moscow, not Kiev. But also, surely it’s important to actually name the culprits behind the violence, right?,” Guz said. “Where are they in the movie?”
The film shows the people walking over snow-covered pictures of Yanukovych as they enter a cathedral, where bodies of the dead are being carried. A slow, solemn heavy chant rises from the crowd paying final respects to friends and family members who have died.
In order to understand this scene and the context of the movie, it is important to keep in mind that Yanukovych was a tyrannical, greedy ruler, and one that was under orders from Russian president Vladimir Putin to not allow Ukraine to strengthen relations with Europe. However, he used his relationship with Putin as leverage, deceiving Putin into thinking that he had control of Ukraine and its affairs while subsequently working behind the scenes to strengthen relations with the EU.
The Yanukovych-Putin relationship is 150% a crucial element of the politics framing the backstory behind the revolts, as is the massive history of oppression and tyranny that Ukraine has endured at the feet of Russia. It is no question that anyone who is interested in global affairs and who wants to learn about the Maidan events in 2014 will walk away from the film with a greater understanding of what it means to be a country caught between two significant powers, but nevertheless, they would have benefited even further had more context been provided.
“The movie could have empowered people who saw it to go out and convince everyone that Ukrainians beat incredible odds, showed amazing bravery and resilience, and transformed their own society in the space of a few months,” Guz said. “The movie could have showed that while people are arguing whether the EU is worthwhile because of minor economic quibbles, people in Ukraine laid down their lives for the mere chance to join it. It could have enlightened people in western and central Europe to the crazy shit that threatens them and people like them only a few hours away from where they live.”
As a girl in the middle of the square plays a piano painted the colours of Ukrainian flag and snow continues to fall on the ashes of the Euromaidan, the documentary resides to ending the story on a tidy note. The ending summary does mention Yanukovych’s flight to Russia, the subsequent annexation of the Crimea by Putin and the ongoing war in Eastern Ukraine, but it doesn’t touch over the chaos and bickering that is continues to take place within the new Ukrainian government.
Both documentaries are raw and incredibly well-filmed. While “Winter on Fire” ultimately opts for a slightly cinematic feel with the way it is tidied up at the end, “The Square” leaves things just as raw and un-ended as at the beginning of the film. Both, however, serve as hallmarks of courage and bravery to share with the world how hard people around the world are fighting for their freedom.
Check out LensCulture for more photos of the Ukrainian revolution and Egyptian revolt.