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An American in Afghanistan: The Millions Interviews James Longley

James Longley makes films and photographs.

Such is the extent of the bio on his website. When you watch Longley’s films or take in his photographs, or when you hear him speak about his work, you begin to understand that “less is more” traces through his life, art, and career. The bio’s compression belies one of the deepest and widest commitments to visual documentary—to capturing the complex dimensions and layers of an entire society, distilling them meaningfully into a two-hour film or single image—I’ve ever encountered. What’s more, Longley approaches his vocation with a simplicity that reminds us how radical a singular focus and commitment can be, in a world increasingly driven by sanctioned impatience and velocity for its own sake.

Longley’s 2006 film Iraq in Fragments was nominated for an Academy Award for Best Documentary Feature and an Emmy for Best Cinematography. The film was also honored with awards at the Sundance Film Festival for Best Documentary Directing, Editing, and Cinematography. His 2002 film Gaza Strip was described by J. Hoberman as “A documentary to make the stones weep.” Longley’s short films include Ejaz’s Story, Sari’s Mother, and Humankind—four short films made for Save the Children about refugee families living at Tempelhof Airport in Berlin.

Angels Are Made of Light, Longley’s newest documentary, shot during a three year period, is an intimate portrait of students, teachers, and their families in an old neighborhood of present-day Kabul. The film opens at Film Forum in New York City on July 24th. 

Your films (2006) and (2019) both bring the viewer into the viewpoint of children in war zones—Iraq and Afghanistan. What are the particular questions (and potential answers) you feel you are able to

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