Avner Shahaf, courtesy Sony Pictures Classics
Dror Moreh’s film The Gatekeepers—one of five nominated for an Academy Award in the documentary feature category—is a brilliant, deeply disturbing portrait of the post-1967 Israeli occupation. This year’s strong field of nominees also includes 5 Broken Cameras, another film about the occupation, directed by Palestinian Emad Burnat with Israeli Guy Davidi.
It’s hard to imagine two more stylistically and thematically distinct films. Burnat’s is a highly personal account of the struggle of his West Bank village, Bil’in, against Israel’s separation wall, and the accompanying army and settler destruction of its olive groves. Burnat interweaves scenes of domestic life with those of Bil’in’s weekly protests; the fact that five of his cameras were broken by the army in the course of filming is a testament both to his seemingly continuous engagement and the army’s habitually violent response to unarmed protest. 5 Broken Cameras is a moving and artfully constructed diary of family and community resistance.
The Gatekeepers, on the other hand, tells the story of occupation from the standpoint of its leading enforcers, six former heads of the General Security Service, or Shin Bet. The film is remarkable for its historical breadth and revelations from those who have run one of the country’s most secretive agencies. Never before have this many Shin Bet heads spoken on the record. From Avraham Shalom, who led the service from 1980 to 1986, to Yuval Diskin (2005–11), these men are intellectually impressive and sometimes eloquent, though at times they display a chilling ruthlessness. Moreh says he was inspired by The Fog of War, Errol Morris’s 2003 portrait of Robert McNamara, and the influence is evident. Moreh’s interviews are framed by creepy re-enactments of intelligence operations, multiple computer screens, repeated surveillance shots of assassination targets. The underlying mood, heightened by a doom-laden soundtrack and computerized simulations, is one of foreboding, conveying the sense of an impersonal, machinelike bureaucracy at work. Yaakov Peri (1988–94), who headed the Shin Bet at the height of the first intifada, says it is “a well-oiled system. It’s well organized and effective.”
Yet that mood stands in contrast to the thoughtfulness, fallibility and frequent self-criticism of the interview subjects. It was precisely that post-retirement soul-searching that inspired Moreh to make this film: as he was working on a documentary about Ariel Sharon, he learned that one of the reasons Sharon, a key architect of the settlement project, decided to withdraw settlers from Gaza was the unprecedented 2003 public protest by four of these former Shin Bet heads, who denounced his government’s single-minded focus on repression during the second intifada. As Ami Ayalon (1996–2000) put it at the time, “We are taking very sure and measured steps to a point where the State of Israel will not be a democracy or a home for the Jewish people.”
A key theme of The Gatekeepers is the irresponsibility of Israel’s politicians, who have avoided hard decisions and have abetted the most dangerous elements in society. As Shalom puts it, any talk of a political solution to the occupation disappeared soon after it began, to be replaced only by a tactical focus on fighting terror. “No Israeli prime minister,” he says, “took the Palestinians into consideration.” Peri observes that every Israeli government either accepted or came to accept the settlements. This gave extremists the feeling they were “becoming the masters” and could do whatever they wanted. A particularly egregious case was that of the Jewish Underground, which plotted in the 1980s to blow up the Dome of the Rock in Jerusalem, Islam’s third-holiest site, in the hope of triggering Armageddon and the coming of the Messiah. The Shin Bet foiled the plot at an advanced stage and the conspirators were duly tried and sentenced to prison, but because they had connections to powerful leaders in the cabinet and Knesset, they were released early. Several Shin Bet directors deplore the far right’s incitement against Prime Minister Yitzhak Rabin preceding his 1995 assassination. Moreh himself, echoing the criticism of Carmi Gillon (1994–96) in the film, denounced Israel’s current prime minister in a February CNN interview with Christiane Amanpour, saying, “Benjamin Netanyahu took his big share in that.”