Danger Zone

In her second feature, Lithuanian-born Polish director Vita Drygas explores the unsettling world of war tourism, a questionable industry that caters to those seeking extreme experiences in combat zones. This difficult but compelling documentary is of nail-biting intensity and deals with the trauma of war-torn communities while painting a poignant picture of the inconsistent way in which the West perceives conflicts in regions such as Syria and Somalia.

The characters are revealed to the viewer in a montage that spans several years and regions. Unlike the refugees and local fighters, their names are mentioned and backgrounds are detailed. Eleonora is an Italian immigrant living in Las Vegas, AJ is a young American entrepreneur, and Andrew is a successful British man and experienced war tourist. We also meet Rick, a contractor who facilitates trips to dangerous conflicts. Their fascination with actual combat brings some of them together, sharing experiences of actual war zones.

The director employs an observational style, allowing the thrill-seekers to tell their own story. She also uses footage shot by them, offering even more authenticity to the narrative. The editing by Milenia Fiedler and Kamil Niewinski is persuasive and introduces images that speak volumes about the seriousness of the situation in which Andrew and the others find themselves. This imagery of poverty and devastation acts as a striking counterpoint to the seemingly relaxed attitudes of the tourists.

Danger Zone is timely in its exploration of the unfortunate universality of war and the human tendency to glamorise even our most destructive behaviour. But, the director makes sure to dismantle the absurd appeal of war tourism by frequently cutting away from the visitors, and placing the viewers in a position which does not allow them to stay indifferent to the effects of widespread war.

Their portrayal makes it easy to perceive the exotic tourists as caricatures, caring little about what happens to the conflict-ridden communities. But, the always observant camera stays with the so-called tourists, showing brief moments in which they exercise empathy. Eleonora's segment is especially moving as she seems to genuinely form a connection with Somaya, one of her Afghan hosts.

The viewer’s attention is grabbed by the sheer weight of the subject, the apparent cluelessness of the Westerners and a camera that is comfortable with but not indifferent to the stark reality of war. Tension overwhelms the screen constantly, especially when Drygas focuses on how the attitude of the tourists evolves. At first, they seem determined to experience something unusual. But, as they spend time in the war zones, their expression slowly turns into a grim impression of their former selves. The joylessness with which they voluntarily surround themselves takes a toll on them and they briefly absorb the severity of their vacations.

Danger Zone is timely and transcends borders, exploring the complexities of global war tourism and its effects on communities affected by combat. It's an intense experience that forces the audience to confront the consequences of continuous conflict through a narrative that should not feel real but is actually representative of many regions around the world.