WMD

Since the War on Terrorism reached its summit back in 2003, the agendas of the governments involved in initiating the Middle Eastern conflict have come under constant inquiry. But for all the reasons given, the targeting and disarmament of nuclear, biological and chemical weaponry, or Weapons of Mass Destruction, has remained on of the most contentious issue. No WMDs were ever found in Iraq, and yet for so long this search was the focal agenda for overseas operations. It’s been seven years, and the subject still hasn’t gone away.

In the media, the futile hunt for WMDs was widely reported, and the lack of evidence soon led to more active investigation. Mainstream media has long since covered the issues of debate, with a number of television programs and films given voice on a public platform. The facts have been largely, but not comprehensively, covered, but for some the quest for truth has lost relevance over the years. With the official British inquiry into Iraq set to start shortly, however, David Holroyd’s aptly titled debut feature, WMD, couldn’t be timelier.

While there have been several attempts to uncover the more clandestine workings of a government under fire in recent years, WMD sets itself apart from the outset. Following the endeavours of Alex Morgan (Simon Lenagan), an intrepid MI6 desk jockey who uncovers alarming confidential evidence that denounces governmental discretions, this is very much fiction masquerading as fact. At times the delicate dynamic between reality and narrative is blurred, as spliced news reel footage and senior administrative speeches fuel the films unashamed finger pointing.

On the surface this is a thoughtful and powerful film that copes with its shortcomings and micro budget constraints by taking on a covert CCTV-style aesthetic, creating an intense atmosphere, but not exactly going far in enhancing its own cohesion. But this is scrutiny on a shoestring and as such WMD delivers a lot more than you might expect. In its dramatic conclusion, which is appropriately void of resolution, you are left searching for the answers you had long since put aside. Holroyd’s real feat then is ensuring that this unremitting resentment towards a once trusted regime resonates long after the theatre curtain falls.

Adam Woodward

Anticipation:

Is another programme pushing political exposé really relevant right now?

Enjoyment:

Yes as it happens. Not an easy watch, but eye opening and engaging nonetheless.

In Retrospect:

Holroyd doesn't so much lift the lid as tear it off.