Kathryn Bigelow’s follow up to her 2009 multiple Academy Award winner,
The Hurt Locker, has
sparked plenty of debate following a swift journey from the headlines
to the screen. The hunt by the CIA for Osama Bin Laden, the terrorist
believed to be the orchestrator of the 9/11 attacks, was a
decade-spanning investigation fraught with tragedy, with his death
announced less than two years ago. Bigelow has once again teamed up with
journalist and screenwriting collaborator Mark Boal, and much like
The Hurt Locker, Zero Dark Thirty
is not structured like most feature films. It is comprised of tightly
chronicled episodes; significant individual chapters over the
investigated period relayed sequentially and encapsulated by a narrative
and fascinating character study.
Expecting less an action film than a tense and evocative
procedural/bureaucratic struggle, I left the cinema shaken, and further
contemplation has left me assured that it is a remarkable filmmaking
achievement worthy of the lofty praise bestowed upon it.
Maya (Jessica Chastain), a CIA operative recruited out of High
School, is assigned to the U.S embassy in Pakistan to lead a hunt for
the al-Qaeda leader. She targets men believed to have been one-time
acquaintances – couriers and moneymen – in the hopes that they can shed
further insight on important members of his inner circle and ultimately
his location. Over the course of the grueling investigation, which
involves the torture of detainees for intelligence, until new
administration threatens to prosecute any officers involved, and the
search for the true identity of Maya’s primary lead, her life is
threatened several times. Significant attacks during this period are
recreated and despite losing agents and facing dead ends, Maya
desperately tries to persuade her superiors to continue funding the
investigation.
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