Citizenfour <\/p>\n
a film directed by Laura Poitras <\/p>\n
At some point in the chase that led the documentary filmmaker Laura Poitras from America to Berlin and finally to the hotel room in Hong Kong where she would meet the whistle-blower who identified himself as Citizenfour, her unnamed informant sent this warning: I will likely immediately be implicated. This must not deter you. <\/p>\n
What did he offer in return for the risk he hoped she would take? The answer was compelling. He knew things that the American public ought to know. The director of the National Security Agency, General Keith Alexander, had lied to Congress, which I can prove. Alexander denied under oath that the NSA had ever engaged in the mass surveillance of Americans that was then going forward under the codenames PRISM and XKeyscore. Citizenfour could also demonstrate that General James Clapper, the director of national intelligence, came no closer than General Alexander to telling the truth. When asked, under oath, by Senator Ron Wyden of Oregon whether the NSA collects data on millions or hundreds of millions of Americans, Clapper had answered: Not wittingly. <\/p>\n
Clappers statement was false in every possible sense of the words not and wittingly. The agency was indeed collecting data, it was doing so in accordance with a plan, and the director had ordered no halt to the mass collection. The extraction of private information about Americans without our consent seems to have troubled Edward Snowden far back in his employment by the NSA. But there were other things that gave him pause: the astonishing license for ad hoc spying, for example, that was granted to those NSA data workers who had been awarded the relevant authoritiesa bureaucratic synonym for permissions. We could watch drone videos [of the private doings of families in Yemen, Afghanistan, and Pakistan] from desktops. This, Snowden has said, was one of those things that really hardened me. <\/p>\n
Citizenfour, a documentary about the rise of mass, suspicionless surveillance and about the dissidents who have worked to expose it, naturally centers on Snowden; and most of the film concentrates on eight days in Hong Kong, during which Poitras filmed while the Guardian reporters Glenn Greenwald and Ewen MacAskill introduced themselves, conducted searching interviews and conversations with Snowden, and came to know something of his character. The focus on a single person is consistent with the design of all three of the extraordinary films in the trilogy that Poitras has devoted to the war on terror. <\/p>\n
The first, My Country, My Country (2006), covered a short stretch in the life of an Iraqi doctor, Riyadh al-Adhadh, during the American occupation of Baghdad. In the months before the election of January 2005, al-Adhadh was beset by a family in bad straits and by patients whose physical and emotional state had suffered terribly in the war. He resolved at that exigent moment to help his country by standing as a candidate for the assembly. When his Sunni party withdrew from participation, he was left disappointed and uncertain, his commitment invalidated by the very people he hoped to serve. <\/p>\n
The Oath (2010) offered a portrait of Abu Jandal, a taxi driver in Yemen, initially famous only by association as the brother-in-law of Osama bin Ladens driver Salim Ahmed Hamdan. It was Hamdan who suffered five years of imprisonment in Guantnamo before being tried on charges of conspiracy and material support of al-Qaeda. A deeply religious man, he was cleared by a military tribunal of the charge of conspiracy and transferred to Yemen, where he secluded himself and maintained an ascetic silence. (On October 16, 2012, the D.C. Circuit Court threw out Hamdans conviction on the remaining count, material support for terrorism, on the ground that it violated the constitutional ban on ex post facto prosecutions: the acts for which he was charged and convicted were not yet crimes when he performed them.) <\/p>\n
As if between the lines of the film, it emerges that Abu Jandal himselfcharismatic, masculine, a hero to the intellectual Muslim radicals who seek him out, yet touchingly gentle in the work of raising his five-year-old sonhad been closer to bin Laden than the relative who was sent to Guantnamo. And even that is not the end: the protagonist is not what he seems at second glance any more than at first. He was once a committed jihadist, yet he was also full of doubts and capable of acting on his doubts. The film leaves him, as the earlier film had left the Iraqi doctor, uncertain and in suspense. <\/p>\n
In the same way, we are left without a finished story at the end of Citizenfour. Snowden departs Hong Kong for Moscow, under the protection of human rights lawyers, hoping to fly from there to a Latin American country that will offer him refuge (probably Ecuador). But as we now know and the film reminds us, the US State Department revoked his passport and Snowden in Moscow is still in limbo. Though the film, in a kind of denouement, shows him reunited with his American girlfriend, visited by a political ally, Glenn Greenwald, and encouraged to hear that another whistle-blower has cropped up and disclosed the exorbitant scale of the American watch list, it is hard to know where his story will end. <\/p>\n
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