Occupied City (2023) Movie Review

 "Occupied City" is a powerful film that captures the haunting remnants of Amsterdam's Nazi occupation during World War II, filmed against the backdrop of the COVID-19 pandemic. Director Steve McQueen skillfully juxtaposes the city's past and present, exploring how its inhabitants reacted to two distinct yet impactful crises.

Unlike other Holocaust-related films, McQueen's approach in "Occupied City" is not about creating horror or delving into individual grief. Instead, the best film is a frank exploration of survival and oblivion, selflessness and selfishness, continuity and demolition. The themes closely align with McQueen's previous politically minded projects, such as "Hunger," "Small Axe," and "Uprising."

The roots of this project trace back to McQueen's wife, filmmaker and author Bianca Stigter, whose work "Three Minutes: A Lengthening" inspired the film. Stigter's book, "Atlas of an Occupied City, Amsterdam 1940-1945," serves as the basis for "Occupied City," highlighting the intertwining of histories, architectural functions, and identities.

Narrated by Melanie Hyams, the film is divided into two halves with a 15-minute intermission. The first half draws parallels between the challenges of the pandemic and the hardships of occupation, while the second half focuses on various forms of resistance during the war. The narratives, drawn from eyewitness accounts and survivors' stories, are presented in a dense, meditative manner, eschewing chronological order. There are no talking heads or maps, emphasizing the film's unceasing stream of tragedies, mirroring the unending dread that permeated the city.

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Even though Melanie Hyams' narration carries a measured tone, it's clear that director Steve McQueen is quite upset with how Amsterdam handled the COVID-19 situation, especially criticizing the perceived selfishness of the younger population. Collaborating with editor Xander Nijsten, McQueen contrasts stories of famine from "The Hungry Winter" with images of carefree, unmasked teens dancing in jubilation. Importantly, McQueen lets the impactful images speak for themselves, showcasing his keen understanding of when visuals can convey a message more powerfully than words.

When Hyams discusses Germany's wartime curfew, McQueen skillfully shifts the focus, allowing her voice to fade away. The cinematography by Lennert Hillege takes center stage, capturing the contemporary nighttime streets with precision. Oliver Coates' haunting score adds to the atmosphere, creating a sense of eerie emptiness that mirrors the historical context.

McQueen doesn't shy away from critiquing local authorities, using a drone to record an anti-Fascist rally, revealing an irony that is not lost on the audience. He also connects present-day monarchy to the country's imperialist past, questioning the sincerity of mourning victims of a regime with genocidal imperialist aims. This visual analysis, including shots of King Willem-Alexander at the National Holocaust Names Memorial, is a bold statement on the contradictions within leadership.

"Occupied City" delves into the haunting history of former resistance homes now occupied by new inhabitants. It explores public spaces where decisions of murder were made, spanning from squares and parks to docks and canals. The film takes us through schools, hospitals, train stations, and former offices that were part of the web of mass extermination. Notably, it highlights the Nazis' censorship of art, erasing Jewish painters and composers and banning dance and music with "Negro elements."

Yet, the most enduring aspect is the recounting of real resistance stories. The film prompts reflection on the choices Jewish individuals made, from wielding their own destinies through suicide to passing as gentiles to save friends and family. McQueen emphasizes the courage of Dutch citizens who hid neighbors and strangers alike. An especially gripping tale involves a Jewish man who, despite never flying a seaplane before, commandeered a German one adorned with Swastikas to transport his family to safety in England. These stories underscore the resilience and bravery that emerged in the face of immense adversity.

Melanie Hyams frequently uses the word "demolished" in "Occupied City" to describe the disappearance of buildings, a phrase that hits the listener hard. Interestingly, this word not only emphasizes the physical destruction of structures but also serves as a poignant reminder of how easily historical markers can vanish. The act of saying "demolished" becomes a way of bearing witness to the past. Even if those sites are no longer standing, what has been witnessed remains etched in memory. While this provides some comfort, it only partially fulfills our longing for preservation.

McQueen's film, anchored by the meticulous research of Bianca Stigter, doesn't just let these vanished structures fade away. Instead, it weaves together harrowing stories that serve as a powerful memorial. These stories, expertly curated by Stigter, form the other half of the film's memorialization efforts. They become a testament to the resilience of history, ensuring that the impact of the events portrayed will endure. The best film, through its narratives, becomes a lasting tribute, preserving the memory of the past for generations to come.

Occupied City Movie 

• Rating: 7/10

• Director: Steve McQueen

• Writer: Bianca Stigter