The intention is to witness the final capture of the infamous Danford, who has been on the run for over six years. Frank Benson (Alan Rickman) and composed of various ministers and legal advisors, is monitoring events. Meanwhile, back in London, a small team of the Cabinet Office Briefing Room (COBRA) committee, led by Lt. They pilot the drone from their darkened, air-conditioned, lair in Creech Air Force Base, Nevada, while the arrest team led by the Kenyan Army is to be given the go-ahead once Danford and other assorted militants are confirmed in place. Air Force personnel, Steve Watts (Aaron Paul) and Carrie Gershon (Phoebe Fox). The surveillance part of the operation is conducted via a Reaper drone piloted by two U.S. trailer already reveals most of the plot). ( Note: Some spoiler alerts follow, but the U.S. The appeal to authenticity in the film, referencing actual places and events, lends an added sense of relevance and plausibility.
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She remains one of the world’s most wanted fugitives, a suspected member of the Somali based Al-Shabaab movement and a culprit behind a series of deadly jihadist attacks in East Africa.
The figure of Danford is an almost exact simulacrum of the real-life persona of Samantha Lewthwaite, the so-called White Widow. She has been traced to a compound in Eastleigh, a suburb of Nairobi known as “Little Mogadishu.” The mission is to arrest Susan Danford, a British convert to Islam and now fanatical jihadist suspected of involvement in the Westgate shopping mall attacks in Kenya. Katherine Powell (Helen Mirren) is coordinating a complex multinational operation from the United Kingdom’s Permanent Joint Headquarters (PJHQ) in Northwood, on the outskirts of London. Part of the film’s novelty is that the action takes place over the course of a few hours in a day. release April 2016) we have the first concentrated cinematic dissection of the acute moral and political dilemmas that drone warfare generates. With South African director Gavin Hood’s Eye in the Sky (U.S. The increasing reliance of Western operations on remotely piloted drones to conduct surveillance and targeted kill operations was notably dramatized in the fourth season of Homeland (2014) and has also briefly found its way into other series like season three of House of Cards (2015). And this presents further opportunities for creative talents to explore the dramatic space that this facet of the conflict engenders. As the overt Western involvements in Iraq and Afghanistan have been scaled back, the “war” has moved increasingly into the shadows of intelligence-led counter-actions against the forces of transnational jihadism.
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For well over a decade the film and television industry has ranged over the political and moral terrain generated by the 9/11 era and the West’s subsequent foreign policy interventions during the “war on terror.” From the brilliantly satirical ( Team America: World Police), the conspiratorial ( Syriana), the trenchantly critical ( Redacted), the intensely personal ( American Sniper), to the quasi-factual ( United 93 and Zero-Dark Thirty), a whole genre of movies and TV dramas have arisen depicting this most turbulent of ages.Īlthough ostensibly intended to entertain, which inevitably leads to over-simplification, no one can accuse the contemporary visual arts of shirking any engagement with the zeitgeist.
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