Welcome to Chechnya – first look review | Little White Lies

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Wel­come to Chech­nya – first look review

24 Feb 2020

Words by Jack King

Two people looking at smartphones on a floral patterned rug.
Two people looking at smartphones on a floral patterned rug.
David France’s vital doc­u­men­tary inter­ro­gates the ongo­ing queer geno­cide in the Russ­ian republic.

When it comes to the recent on-screen doc­u­men­ta­tion of queer pol­i­tics and activism, no one has estab­lished their cre­den­tials bet­ter than David France, the for­mer edi­tor of Newsweek who segued into film­mak­ing after decades of work as an inves­tiga­tive jour­nal­ist. His debut fea­ture How to Sur­vive a Plague, a chronol­o­gy of archive footage, is the most exten­sive and eas­i­ly acces­si­ble chron­i­cle of New York City’s AIDS cri­sis. With Wel­come to Chech­nya, France shifts his mea­sured yet furi­ous focus to the ongo­ing queer geno­cide in Chechnya.

While there is some periph­er­al focus on the sociopo­lit­i­cal con­text of anti-queer­ness in Chech­nya, the major­i­ty of the film focus­es on a group of Chechan LGBT+ activists who work tire­less­ly to fun­nel queer Chechans out of the coun­try – to any­where, essen­tial­ly, that will offer refuge on a human­i­tar­i­an visa. They house the refugees in a safe­house, where they typ­i­cal­ly stay for two weeks pri­or to escape. It’s with­in these walls that the group estab­lish­es a tight-knit, famil­ial bond. Most have already been sub­ject­ed to tor­ture at the hands of the Chechan police.

France doesn’t shy away from depict­ing both the results of said tor­ture and hor­ren­dous vio­lence in action. One refugee, Grisha, was interred and tor­tured for 10 days. They put a rat on someone’s back under a pan,” he recalls, heat­ed it, and the rat tried to claw its way out of his back.”

The film is fur­ther bro­ken up by footage inter­cept­ed” by queer activists. One sequence shows, via CCTV, a famil­ial hon­our” killing; it cuts away just as the final blow is struck. It is to France’s cred­it that these atroc­i­ties are nei­ther watered down nor redact­ed because, tough though they are to watch, they are essen­tial. The vic­tims are not grant­ed the ben­e­fit of being allowed to turn away, and so nor should we.

The sub­jects of Wel­come to Chech­nya, as high­light­ed at the begin­ning of the film, are dig­i­tal­ly dis­guised for theirs and their fam­i­lies’ safe­ty. The effect is some­what dis­tract­ing and slight­ly crude, some­thing akin to an Insta­gram face-swap fil­ter, and voic­es occa­sion­al­ly fall out of sync with digi­tised mouths – although per­haps even an alter­na­tive means of dis­guise would dilute the film’s mes­sage. Main­tain­ing a human­ist approach and putting a face to the vic­tims is vital.

Some of the film’s most effec­tive sequences are those which depict the process of escape. Shot entire­ly on hid­den body cams, scenes of the activists pass­ing through bor­der check­points are thrilling and fre­net­ic, and more per­ti­nent­ly they remind us of the stakes at hand. The work these activists do is noth­ing short of hero­ic, but trag­i­cal­ly they are not always suc­cess­ful: many refugees are cap­tured and forcibly returned to their fam­i­lies. This is effec­tive­ly a death sen­tence, as the Chechan author­i­ties then encour­age fam­i­lies to car­ry out hon­our” killings.

Towards the end of France’s film, Grisha, his iden­ti­ty now revealed, denounces the Chechan gov­ern­ment in a pub­lic press con­fer­ence. If we keep ignor­ing it,” he argues, what will keep this from hap­pen­ing every­where?” Wel­come to Chech­nya not only pro­vides a stark reminder of the every­day real­i­ty of anti-queer oppres­sion out­side of our pro­gres­sive’ West­ern bub­ble, but also of the pre­car­i­ous nature of glob­al LGBT+ rights.

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