By Amin Pakparvar
Ahmad Ghossein’s film All This Victory offers a profound exploration of the human condition against the backdrop of the 2006 Lebanon conflict. Through the depiction of individual and collective suffering, the film delves into the multifaceted impacts of war on human lives, with a particular focus on themes of surveillance, control, and spatial dynamics. By situating the narrative within a war-torn region, the film not only addresses the immediate trauma of conflict but also engages with deeper psychological and ethical issues. This analysis employs the concepts of Forensic Architecture, as pioneered by Eyal Weizman, and Michel Foucault’s Panopticon theory to illuminate the complex interplay between visibility and control in the film’s portrayal of war.
Amin Pakparvar
Set during a brief 24-hour ceasefire, All This Victory follows Marwan as he searches for his father, who has chosen to remain in his besieged village. Meanwhile, Marwan’s wife, Rana, is left to manage their impending migration to Canada on her own. As the ceasefire collapses and Marwan’s search proves futile, he seeks refuge in the home of Najib, a trusted family friend. The film vividly portrays Marwan’s growing sense of isolation and despair as he, Najib, and a group of elderly men become trapped in the house, facing escalating violence. The structure of Najib’s home, under constant bombardment and military incursion, becomes a site of conflict, embodying the intersection of safety and war, and ultimately, entrapment.
The concept of Forensic Architecture, first developed by Eyal Weizman, provides a crucial framework for analyzing the film’s spatial dynamics. Forensic Architecture involves the use of architectural techniques and tools to reconstruct and analyze evidence related to incidents such as human rights violations, wars, and political conflicts. This method includes 3D reconstruction of crime scenes, satellite image analysis, computer simulations, and interviews with eyewitnesses. The primary aim is to present credible and valid evidence to courts, human rights organizations, and the media.
Examples of this approach include:
- **Investigating the 2014 Gaza Bombing**: Weizman and his team used Forensic Architecture to reconstruct and analyze airstrikes on Gaza. Utilizing satellite images, eyewitness testimonies, and available data, they were able to reconstruct the scenes of the attacks and present evidence of the deliberate destruction of civilian homes.
- **Sinjar Massacre in Iraq**: In this project, Forensic Architecture documented the crimes committed by ISIS against the Yazidis in the Sinjar region. Weizman’s team used aerial imagery and survivor interviews to create a map of the destruction and violence, which was later used as evidence in court.
- **Analysis of Eric Garner’s Death in New York**: The team employed Forensic Architecture to analyze the video footage of Eric Garner’s death by chokehold at the hands of the NYPD. Through spatial and temporal analysis, they provided new insights into the incident and the responsibility of the police officers involved.
Weizman utilizes Forensic Architecture as a tool for truth and justice, combining the art of architecture with advanced technologies to reconstruct complex events and present new evidence to the international community and judicial bodies. This method is particularly effective in areas where evidence is not easily accessible or is deliberately concealed by governments and military groups.
Thus, Forensic Architecture involves applying architectural and spatial analysis to examine and expose the impacts of violence within physical environments. Reflecting on this framework, one can see how the depiction of Najib’s home in Ahmad Ghossein’s film acts as a mirror, revealing the violence inflicted upon civilians. The transformation of the home from a safe haven to a vulnerable space reflects the dynamics of power and control. The film allows for a deeper examination of how architectural space is not necessarily a human sanctuary but can expose its inhabitants to constant threats, highlighting the intricate relationship between urban built environments and the experiences of war.
Michel Foucault’s Panopticon theory further complements this spatial analysis of the film. The Panopticon, a model of a prison designed by Jeremy Bentham, was conceived to create a state of perpetual observation by a powerful force (soldier/state/prison guard), where the constant possibility of being watched compels prisoners to continuously adjust their behavior to the desires of the central authority. The circular structure places the guard at the center and the prisoners in the surrounding cells, making each prisoner visible and controllable. Foucault described such a prison structure as a metaphor for the modern societal condition, where individuals live under pervasive surveillance by institutions, robbing them of their freedom in a prison-like existence.
In Ahmad Ghossein’s film, Najib’s house functions similarly to a Panopticon cell, where the constant threat of being monitored by soldiers and military eyes—acting as the central gaze of the prison—pervades the characters’ experience. The looming threat of observation forces the characters to remain in a state of constant vigilance, reflecting Foucault’s concept of self-regulation under surveillance. This perpetual state of alertness manifests as a significant psychological burden, influencing the characters’ actions and interactions, compelling them to avoid detection and potential harm.
Moreover, the film’s depiction of modern surveillance technologies—such as drones, night-vision cameras, and checkpoints—enhances our understanding of the film through Foucault’s framework. These technologies represent contemporary methods of control and surveillance, and their portrayal in the film underscores the existing threat to the characters. The representation of these technologies highlights the power imbalance between the watchers and the watched, showing how advanced surveillance tools exacerbate the characters’ sense of vulnerability and powerlessness.
The film not only captures the experiences of its characters but also critically examines the broader implications of war and surveillance technologies on human behavior and social norms. Foucault’s Panopticon theory serves as a lens through which we can understand how surveillance influences the autonomy and behavior of the characters. The characters’ awareness of external surveillance—whether by military forces or surveillance technologies—creates an atmosphere of anxiety and self-regulation, where their lives are continuously shaped by the fear of being seen.
Ahmad Ghossein’s All This Victory illustrates how cinema can serve as a powerful tool for representing and rethinking the impacts of war and surveillance on human lives. Drawing on the theoretical frameworks of Forensic Architecture and the Panopticon, the film reveals not only the individual and collective experiences of war but also offers a deeper analysis of the role of architectural spaces and surveillance technologies in shaping human behavior and psychology.
The film reminds us that in the contemporary era, violence and surveillance function not only as physical phenomena but also as psychological and social forces capable of influencing both social structures and individual lives. In this sense, All This Victory transcends mere storytelling; it invites reflection on the complexities of power, control, and human resilience in the face of instability and constant threats.
This cinematic work challenges the boundaries between safe and unsafe spaces and meticulously examines the dynamics between seeing and being seen, addressing not only the experiences of its characters trapped in a besieged house but also posing fundamental questions about the impact of surveillance and war on identity and self-awareness. Ultimately, All This Victory, through the use of architectural techniques and social theories, offers a thought-provoking experience that lingers in the minds and memories of its audience.
Written in July 2024
