"I want you guys to mourn," Captain Kearney instructs, "and then I want you to get over it and do your jobs." In one of Afghanistan's most deadly locations, soldiers have little time to grieve over fallen comrades. Instead, they must face constant conflict, deadly fire fights a part of their daily routine. But what is it really like to be a soldier overseas, in a post as dangerous as this one? The film gives viewers a glimpse into the daily lives of soldiers, the startling normalcy of their interactions juxtaposed with the horrific combat they experience. With every scene that depicts the gruesome reality of war, another depicts a group of men acting like typical male buddies. But after a year of war, which role will consume them?
Released in 2010, "Restrepo" is a documentary that follows the lives of soldiers stationed in Korengal Valley, one of the most dangerous postings in the US military when filmed in 2007. The men undergo several fire fights with the Taliban a day and must always be on alert for spontaneous combat. In the face of adversity, the men form a bond unbreakable by death. The film explores how soldiers adapt to such a high-risk environment, and how they cope with the constant stress and adrenaline they experience. None of the characters involved are actors—they are each real members of the Second Platoon, simply telling America the reality of their individual experiences.
The film is directed by Sebastian Junger and Tim Hetherington, a work they are both best known for. Junger is primarily a journalist who has military experience, and Hetherington (1970-2011) was prominent photojournalist who documented conflict and human rights issues, tragically killed this April while covering the conflict in Libya. Though not a mainstream release, the film won the Grand Jury Prize at the 2010 Sundance Festival, and was produced in part by National Geographic. It has recently been released on both DVD and BluRay and can be instantly streamed online by Netflix subscribers.
The cameras simply follow the daily lives of these men, war footage interspersed with later interviews of each soldier. The setting is primarily the outpost the men are continuously building within the valley. The footage is raw and sometimes shaky, as close to reality for the viewers as possible. These shaky camera movements, though hard to avoid, can sometimes distract the viewer, who may be confused as to what is going on. At times it can be hard to hear the dialogue above the chaotic sounds of combat, but the film uses subtitles to help resolve this issue. This is a film that requires concentration and is hard to understand if interrupted. Strikingly, the only music involved in this film is pop music the soldiers enjoy during the little relaxation time they are given.
I would recommend this film to anyone who has interest in group dynamics and the effects of traumatic experiences. It was highly recommended to me by a fellow Ford scholar. I would not find this film suitable for children or younger teenagers.

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