Writer and director Ben Lawrence follows the family of Wikileaks editor Julian Assange in the lead up to his extradition trial, delivering a documentary that, although not quite getting to the heart of the man himself, firmly asserts the injustice of his detainment.
★★★★✰
The well-publicised case of the Australian info-leaker with the iconic silver hair has rightfully seen hordes of people across the globe cry “free Julian Assange” in mass rejection of government corruption and repression of free speech. As such a well-known figure, it’s only natural that Assange became a subject for cinematic artists to explore. Following 2013’s The Fifth Estate, which saw Benedict Cumberbatch don an unconvincing silver wig in his portrayal of Assange, Ben Lawrence’s documentary, Ithaka, takes a less salacious approach by honing in on the effect of Julian’s detainment on his father and fiancée. The result is a film that lacks flare, but ultimately acts as an excellent tool to further public awareness of this very real and very contemporary issue.
Ithaka follows Assange’s father, John Shipton, shortly after his son’s detainment in the UK’s Belmarsh Prison, awaiting the trial which will decide if he will be extradited to the USA. The film catches viewers up on the history of the case before taking us along with John and Julian’s fiancée Stella Moris as they campaign tirelessly around the world for Julian’s release. Though Lawrence tries to explore Julian’s early life several times throughout the film, John is adamant that this is neither necessary nor appropriate for a documentary about his trial, ensuring the film focuses purely on the here and now.
John’s immovability around his conviction that the documentary should not explore Julian’s autism or John and Julian’s 25-year lack of contact is, on the one hand, admirable. It seems natural that a man so focused on saving his son from permanent imprisonment should avoid tabloid headlines about neurological diagnoses and family drama, and what they could mean about Julian and his actions. However, while John’s position is understandable, the absence of context for Julian as a person is nevertheless noticeable and somewhat distracting in a film all about him. Julian is nearly entirely absent from the screen, even when video called from his cell, giving his presence a spectral and somewhat unnatural feel that juxtaposes uncomfortably with the film’s obviously pro-Assange stance.
On the other hand, Julian’s omission from the narrative, both in terms of any interviews or personal anecdotes about him, is a stroke of genius. As the film is not only a piece of educational art but also a political call to action, such details would merely distract from the wider issue at stake: freedom of speech and press. Lawrence, like Assange, Shipton, and Moris, is clearly concerned with the restriction of fundamental rights and takes great pains to inspire others to share his view. The film shows a just bias towards sharing the truth at all costs. Leaving Assange off-screen only goes to reinforce that he is just one man, reinforcing the fact that this is an issue affecting us all as members of an allegedly free and democratic society.
Narratively, the film is a compelling watch and while we never come to know Julian, we know John and Stella quite well by its conclusion. Both are at the emotional centre of the film. John’s pessimistic outlook contrasts Stella’s more hopeful demeanour, but it is clear that the situation has taken an immense toll on them both and, as John notes, they’re running out of steam. Though the film is primarily interested in highlighting the handling of Assange’s case and its wider political implications, it is equally an exploration of the lengths that this family will go to for Julian. Stella and John push through their weariness and continue the fight despite the hopeless odds. The insight into its impact on them is perhaps the film’s most heartfelt element, and Ithaka will likely be remembered for honouring these two unsung heroes as much as for promoting Assange’s freedom.
Aesthetically and stylistically, Ithaka is nothing to write home about. This is about as by-the-numbers as documentaries get, with a washed-out colour palette, simplistic editing, and little reliance on music. Perhaps most surprisingly, in his quest to keep the audience in the present moment leading up to the trial date, Lawrence seldom relies on archive footage—a staple of the documentary genre. The end result isn’t exactly appealing to look at, and more closely resembles a news broadcast than a feature documentary.
However, once more, an element of Ithaka that appears detrimental also works to its advantage. By keeping the focus almost entirely in the present and presenting events in a gloomy, realistic style, Lawrence refuses to allow his audience the usual indulgences of documentaries. This is not a hyperbolised Hollywood story, something made very clear by John’s repeated philosophical monologues and general distaste for the media. With its use of grainy greys and shaky-cam cinematography, Ithaka consistently reminds the audience that this is a real story about a real man, making for a more intimate final product.
The Verdict
Ithaka invokes more of the political calls to action of the Third Cinema than a traditional Western documentary. Lawrence is mostly uninterested with the conventions of jazzy editing and sob stories, instead focusing on one time, one moment, and one broken family. Though it sometimes lacks the context of who Assange really is, it ultimately acts as a powerful tool to highlight this contemporary attack on free speech and its impact on those behind the slogan ‘Free Julian Assange’.
Words by Nathanial Eker-Male
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