(2021) Documentary (Abramorama) Patricio Galvez, Clive Stafford Smith, Alba Galvez, Katalina Galvez, Mio Galvez, Persraw Baker Hussein, Eskandar Saleh, Stefan Åsberg, Isobel Coles, Adam Mattinen, Cecilia Uddén, Terese Cristiansson, Jacek Machula, Simon Sowell, Rena Effendi, Beatrice Eriksson. Directed by Gorki Glaser-Müller
Dostoyevsky wrote that a civilization is judged by how it treats its prisoners. That could also be included as to how it treats its enemies – or their children.
Patricio Galvez, a middle-aged musician who had emigrated to Sweden from Chile, made headlines in Scandinavia in 2018-19 when he attempted to rescue his seven grandchildren from the notorious Al-Hol refugee camp in Syria. You see, his daughter Amanda had converted to Islam along with her mother (at the time divorced from Patricio) and had an arranged marriage with Michael Skråmo, a notorious ISIS recruiter from Norway. Eventually the two moved to Syria over the objections of Galvez, and taken their four children with them. While in Syria, they kept busy – Amanda had three more children there and was pregnant with an eighth when she was killed in an air strike. A couple of months later, Skråmo died during the fall of the caliphate, shot to death in front of his children.
The children were placed in a refugee camp and as the children of ISIS terrorists, were essentially persona non grata in Sweden. Galvez didn’t see the children of terrorists, however; he just saw his grandchildren and put up a tremendous fight to get them out of the camp. But the clock was ticking; the children were severely malnourished and were growing weaker and more ill with each passing day.
The movie chronicles the ordeal of Galvez, which is mostly down time waiting on bureaucrats to return his call, or for some action or another to be taken. He enlists the aid of humanitarian groups, but they can accomplish later. He begins a media campaign which seems to spur the Swedish government into action. However, the Swedish public is less sanguine about the affair; the social media posts are (predictably) nasty, urging Galvez to return to Chile and pointing out his failures as a father to raise a terrorist, wondering if he would be fit to raise these children as well or would they turn out to be just as radical as Amanda turned out to be?
Galvez is very conflicted. On the one hand, he mourns the loss of his daughter, realizing that she was lost years earlier when she was radicalized. He also mourns the damage done by his son-in-law and ISIS in general, all the lives disrupted, the women used as sex slaves, the children left as orphans. But throughout, he perseveres. He realizes, better than most, that the sins of the father (or the mother) should not be visited upon the sons (and daughters).
It is at times a difficult movie to watch; some of Amanda’s letters to her father from Syria are absolutely chilling, as are the home movies the two sent him of the kids. There are some joyous moments, as when Patricio finally gets a breakthrough from the Swedish diplomatic corps and Glaser-Müller puts down the camera to embrace his friend, who is overcome. The grandmother makes an appearance, further complicating matters.
The children themselves we see little of and when we do see them, their eyes are pixilated so that they can’t be easily identified. They are clearly traumatized but for all that, they are still just kids, innocent victims of parents who had followed a path of evil.
There are some negatives here; we don’t really get a lot of personal background. We aren’t told when and how Patricio’s marriage to Amanda’s mother ended, or how the two women ended up converting to Islam and why. Then again, this isn’t meant to be Amanda’s story, although she looms large throughout. We also aren’t told how Patricio managed to afford staying in the hotel near the Iraq-Syria border for a month and a half, or how he could afford to take off work (or even whether he is employed). We learn almost nothing about the mundane details of Patricio’s life, other than that he is a doting grandfather, a grieving father and a musician. A few more blanks needed to be filled in. The score is a bit on the intrusive side as well.
But that aside, this is a powerful documentary that looks at the war on terror from an entirely different viewpoint. The film is currently playing in a limited run in Los Angeles, as well as available for streaming as part of the DOC NYC festival online (see link below). While there are some questions that can never be answered – how can an apparently well-adjusted person be radicalized to that degree – it at least lets us look at the questions it can answer.
REASONS TO SEE: Patricio is a compelling subject with a warm, engaging smile but still a broken heart. Plays almost like a thriller in places.
REASONS TO AVOID: Really doesn’t give us much insight as to who Galvez is.
FAMILY VALUES: There is some adult thematic content.
TRIVIAL PURSUIT: Like Galvez, Glaser-Müller is a Chilean-Swede.
BEYOND THE THEATERS: DOC NYC Online (through November 28)
CRITICAL MASS: As of 11/19/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Mass
FINAL RATING: 7.5/10
NEXT: Dean Martin: King of Cool