Seventy-one-year-old Haitian filmmaker Raoul Peck continues the documentary tradition of I Am Not Your Negro (2017) and Ernest Cole: Lost and Found (2024). These are films about the work of fiery and deeply political artists (Black activist Malcolm X and the titular “recorder of the Apartheid”, respectively). This times he turns his attention to the writings of English novelist and poet George Orwell (whose real name was Arthur Blair). All three films are a masterclass of montage, with the flashing and inflammatory title cards (which have become one of Peck’s most recognisable trademarks).
The entire voiceover consists of writings by Orwell at various stages of his life, voiced by British actor Damian Lewis. His profound analysis and reflections acquire an entirely new significance as Peck combines them with film clips and historical footage (internet, television, war, etc) from the 1920s all the way to the present. The films clips were taken from three adaptations of his work – Animal Farm (John Halas and Joy Batchelor, 1954), 1984 (Rudolph Cartier, 1954), and 1984 (Michael Radford, 1984), 1984) – three movies by social-realist British director Ken Loach – Riff-Raff (1991), Land and Freedom (1995), and I, Daniel Blake (2016) -, as well as Sergei Loznitsa’s Babi Yar. Context (2021), Carl Dreyer’s The Passion of the Joan of Arc (1928), and many others. What all of these films have in common is that they showcase the repercussions of authoritarianism on the common citizen. They range from the hungry job seeker of I, Daniel Blake, all the way to the real-life, ardent nationalist of Joan of Arc.
There are also extracts from at least two documentaries about George Orwell: Orwell on Jura (John Glenister, 1983) and Orwell Rolls in his Grave (Robert Kane Pappas, 2003). Peck uses talking heads interviews and locations images from these films in order to provide viewers with some insight into Orwell’s personal life, and some of the places where he chose to live.
The most powerful powerful moments come from the historical footage, particularly from American television. We watch as coup-mongers invade the Capitol building of Washington on January 6th, 2021. Trump affirms that these are people are “full of love, full of love”. just as they break windows and attack police officers. George Orwell’s thoughts on tyranny serve to contextualise the events. Other powerful comments include a lengthy dissertation on authoritarianism and military belligerence, featuring images of Augusto Pinochet, Ferdinand Marcos, Vladimir Putin, Viktor Orban, Narendra Modi, Georgia Meloni and others. There is footage from WW2 and the Ukrainian War alike. Euphemistic expressions of war and ethnic cleansing are displayed in flashing colours against a Black background: Putin’s “special military operation” and Madeleine Albright’s “collateral damage” are amongst those.
Images of a ravaged Gaza and sadistic Israeli solders in the West Bank remind viewers that Israel is a shining example of authoritarianism and state manipulation. Netanyahu claims: “Israel is seeking peace, we are on the road to peace”, only for Orwell’s famous “Peace=War” quote to be emblazoned across the screen. This is part of Orwell’s philosophical triptych: “peace is war, freedom is slavery, and ignorance is strength. Next we see: “Antisemitism”, followed by its accurate translation: “silencing critics of Israel”. At this moment, the film drew applauses from the audience.
The film also takes aim on media moguls, claiming that they operate as state partners in their mission to control people. Ruport Murdoch appears with an enormous list of the media that he owns. Same with Jeff Bezo, Brazilian family Marinho, and others. The filthy rich too are denounced as enemies of the people: Elon Musk, Charles Koch and others are presented alongside their fortune, with Orwell claiming that such people are “as useful to society as fleas to a dog”.
The title of this two-hour movie refers to a passage from 1984, where government attempts to instil frivolous lies into people. We watch a father teach his boy that the state will make him believe 2+2=5, and a sadistic government officer uses torture on a poor citizen in order to agree with the falsity with “all of this heart”. Both scenes are taken from the two 1984 films (made in 1954 and 1984, respectively)
Peck’s new film, much like its predecessors, is a proudly hyperpolitical documentary. The Haitian director has Orwell to support him. The English novelist argued that art and politics are inseparable, and that the claim that art is not political is a political statement per se. Bold, innovative and inspiring filmmaking.
Orwell: 2+2=5 premiered in the 78th Festival de Cannes, when this piece was originally written. Also showing in San Sebastian and at the BFI London Film Festival. An indispensable watch.
