Now Showing: The Eye of History

 

The Eye of History

Genre: Biography / Historical

Director: Marc Forster

Writer: Andrew Doster

Cast: Kirsten Dunst, Finn Cole, Casey Wilson, Oliver Jackson-Cohen, Faran Tahir, Douglas Smith

Plot: The film opens with a silent and melancholy atmosphere. The camera moves slowly through a room illuminated by dim morning light. On the walls, black and white photographs capture moments of history and life. Margaret Bourke-White (Kirsten Dunst), once a famous photographer known throughout the world, lies on her bed, wrapped in a woolen blanket. Her face is marked by her illness. Her hands, once steady and confident with the camera, now tremble slightly due to Parkinson's disease. The half-open window reveals a snowy panorama, but Margaret can no longer face the cold due to her precarious health following a fall down the stairs that occurred about ten days earlier. Her gaze is turned towards the past, towards the images she captured with her camera. As much as possible, with the help of her maid, she had tried to settle down as much as possible because she would be receiving a visitor that day.

David Rossi (Finn Cole), a young journalist who has just graduated, enters the room introduced by Clara (Casey Wilson), Margaret's maid. He has bright, excited eyes and a notebook in his hand. He is an admirer of Margaret's work and has traveled from afar for this interview with her. David bows respectfully and shyly begins to speak nervously. Margaret observes him with curiosity and then with a smile tells him to calm down and asks the maid to bring the young man something to drink. After drinking the young man asks Margaret to tell her everything about her life. Margaret agrees to tell her story, but with one condition: she wants to know which photos David considers his favorites of her among those he has taken throughout her career. David smiles, accepting the deal and runs out of the house towards his car. After a couple of minutes he returns to Margaret with a photo album full of photos taken by Margaret and places it on the table next to Margaret's bed. David quickly flips through the pages one by one. There are images of wars, of suffering, of moments of hope and beauty. Margaret listens attentively, smiling faintly, her eyes fixed on the images of her as each photo of her brings back memories, emotions and lives lived. Suddenly David stops and points to one. Margaret's mind goes back in time and she begins to speak.

Margaret arrives by car at Fort Peck Dam, Montana, accompanied by her young assistant, Henry (Douglas Smith). The gigantic structure is still under construction and Margaret is excited to photograph it from different angles and distances. The assistant reminds her that they have little time since the photos of her must be delivered to the Life editorial team by the next day and there was a problem with the permissions to be there. Margaret nods, feeling the urgency of the situation and says she'll figure something out. Meanwhile, hundreds of workers work on the dam, sweaty and dirty with their faces marked by fatigue. Margaret approaches the site manager and asks permission to take photos, but she is rudely rejected by a gruff foreman since the dam is a military zone and access is prohibited. Determined, Margaret insists, telling the foreman that there was a problem with the accreditation from Life magazine and that the photos she takes will be important in showing the world the progress and greatness of America after the Great Depression. The foreman snorts but doesn't give in as she tries to convince him in every way. Margaret looks past the foreman, towards the majesty of the dam and her eyes shine. At a certain point she storms off, taking her young assistant with her. They sit in the car and think of a plan while eating a sandwich. Soon after, they steal some uniforms and dress up and dress up as workers, wearing faded hats and dusty jackets while blending in with the other workers trying to go unnoticed. Margaret keeps her beloved camera hidden under her uniform. They make their way among the trucks, cranes and bulldozers avoiding curious glances. They arrive at the edge of the dam, where they overlook the artificial lake. Margaret is struck by the view, the dark blue water stretches endlessly, while the dam rises imposingly. Margaret whispers to the assistant that she has found the perfect spot from which to take the photo. She takes out her camera and prepares to capture the dam. The assistant tells her to hurry, because they might get caught. Margaret nods and takes the photo.

David listens with his mouth open, surprised by how difficult it was to take that photo that went on the first cover of LIFE on November 23, 1936. While Margaret is helped to drink in small sips by Clara, the boy chooses the second photograph. Margaret looks at the photo for a moment and smiles sweetly. The photo was taken for the book “You Have Seen Their Faces - 1937”. At that point the woman begins to tell.

Dust rises behind the car as Margaret Bourke-White and her boyfriend, the writer and journalist Erskine Caldwell (Oliver Jackson-Cohen), travel through the winding roads of Georgia. The scorching sun burns through the windshield, turning the interior of the car into an oven. Margaret holds the map on her lap and looks excitedly at the horizon in search of subjects to photograph and interview for the book they are writing. Erskine, on the other hand, seems to be more deep in thought than he is because he is critical and bitter towards his hometown, which he considers backward and oppressive. At a certain point the car stops in front of a series of wooden houses. Margaret, with her camera slung over her shoulder, gets out of the car and advances with a determined step towards the hut, her eyes scrutinizing every detail, every crack in the wood and every blade of grass that grows undisturbed in the surrounding area. Erskine, following her, almost seems to get lost in her thoughts, her gaze rests on an old pecan tree, silent witness to years of history and stories. Inside, the hut reveals a raw and no-frills reality. The light filters through the cracks in the wooden planks, creating a play of shadows that move on the beaten earth floor. Margaret moves with respect, almost as if she wants to ask permission for those spaces to tell their story through her lens. The children, with their large eyes full of questions, follow every movement of that woman who brings with her unknown tools and promises of food. Her mother, a figure of strength and effort, watches cautiously, her face marked by time and work in the fields. When Margaret asks to pose for the photo, there is a moment of hesitation. Then, one after the other, the family members approach the door, as if they were about to cross the threshold of a new world. They line up, their bodies tell stories of work and resistance, their hands are maps of lines and scars. Erskine, meanwhile, with his recorder, captures fragments of life: simple words but full of meaning. Margaret frames the scene, her finger hesitates for a moment before pressing the button.

After taking the photo, Margaret pauses for a moment to imagine the photo she just captured. Her expression is thoughtful, almost as if she were trying to decipher a message hidden in the folds of the reality that she has before her. Erskine, noticing her silence, approaches her and places a hand on her shoulder, a gesture of support despite their differences. Margaret then turns to the family and, with a kind gesture, invites them to sit under the shade of a large oak tree. She takes an old plaid blanket out of her bag and spreads it on the ground, gesturing for them to sit down. As the family sits down, she pulls a picnic basket out of the same bag, surprising everyone with a modest meal she had prepared before leaving.

As they eat, Margaret and Erskine listen to the farmers' stories, their daily struggles and the small pleasures they find in their existence. Erskine, who initially seemed distant and critical, begins to show signs of empathy, struck by the simple joys the farmers share. The conversation is interrupted when a group of neighborhood children, attracted by the unexpected event, shyly approach. Margaret welcomes them with a smile and invites them to join. Soon, the scene transforms into a small community gathering, with laughter and stories intertwining under the blue Georgia skies.

After the meal, Margaret suggests playing a photography game with the children. She encourages them to explore the cabin and its surroundings with some old disposable cameras that she had brought with her. The excited children run around capturing images from their point of view, a fresh and innocent perspective that Margaret hopes to include in her book. As the sun begins to set, Margaret realizes that what she experienced that day goes beyond simple photographic documentation. She shared moments of true humanity and created a bond with those people, a bond that she hopes to convey through her images of her. The scene ends with Margaret, after saying goodbye to her family and children, walking away with Erskine. As the car drives away, the dust rises again, leaving the cabin and its inhabitants behind, but carrying with it the promise of telling their story to the world.

The boy smiles and continues to leaf through the photo album until he stops at one that portrayed the woman in Russia during the Second World War.

Under an oppressive gray sky, Margaret Bourke-White strides steadily across a snow-covered field that stretches as far as the eye can see. Each step she takes sinks into the fresh snow, leaving a clear and deep trace. She stops, scanning the horizon, then takes out her trusty camera. With an expert eye, she frames a group of soldiers in the distance, immortalizing them in a moment of truce. Shortly afterwards, as the woman arrives at a Russian camp, the snow begins to fall silently in the already snow-covered landscape, painting every corner of that place white where the biting cold bites every centimeter of exposed skin. Margaret, already wrapped in a heavy wool coat and with the camera clutched in her gloved hands, moves confidently among the Russian soldiers. Her breath condenses into clouds of steam in the freezing air as she tries to capture the raw essence of war through her lens. She watches the soldiers walking, some limping due to the wounds inflicted by the conflict, others with the determined gaze of those who do not let themselves be defeated even by death and are almost transformed into ghosts in a landscape of ice and death. Margaret looks at those figures while the distant roar of German artillery sounds like a sinister background, a constant threat that hovers in the cold air.

Margaret respectfully enters a military tent, where the air is filled with the enveloping smoke of burning wood. The heat of the fire creates an almost intimate and protective atmosphere, a temporary refuge from the cold and horror that lies beyond the walls of the tent. Some Russian soldiers are inside wrapped in thick, worn blankets as they warm themselves around the fire and chatter. Margaret moves discreetly, almost afraid of disturbing that rare moment of peace in which men find themselves united in the warmth of the hearth. A young soldier, looking shabby but with a lively look, approaches her with a shy smile, intrigued by the presence of her photographer. With a gentle gesture, Margaret hands him the camera, inviting him to look through the lens. The soldier eagerly accepts as he looks through the lens taking a photo of Margaret as she smiles by the fire. Meanwhile, other soldiers converse quietly, sharing stories of home and hope for the future. At a certain point someone sings a sweet and melancholic melody, the notes of the song mix with the crackling of the fire, creating an atmosphere of nostalgia and comfort. Margaret joins the circle around the fire, listening attentively to the words and looks of those brave men. She then starts teaching a few words in English including some swear words that make the whole group of people giggle.

As she ventures into the smoking ruins of a reconquered village, Margaret finds herself surrounded by a group of Russian soldiers determined to bring aid and support to the local population. The landscape is full of debris and desolation, but in the midst of it all emerge glimpses of humanity that Margaret strives to capture with her camera. A young soldier, with a soot-stained face and tired but determined eyes, approaches with a smile that exudes a rare joy, almost a light of hope that manages to cut through the darkness of war. Margaret snaps quickly, capturing the essence of that glowing smile, but not before offering the young soldier some water and bread in solidarity. Then, as she travels further into the devastated village, Margaret's heart aches at a heartbreaking scene. A mother, with her face marked by tears and trembling hands, holds her child to her chest, but her child lies motionless in her arms, lifeless. Margaret approaches with respect, trying to capture the intensity of that emotion with her lens, but she realizes with real horror that the child is dead, probably from starvation or disease. Margaret lowers her camera and avoids further shots. In a gesture of respect and pain, the photographer bows slightly, silently offering her support to her mother in the darkest moment of her existence.

Suddenly Margaret finds herself faced with a scene that seems to capture the very essence of war and hope. A young Russian girl, with her deep eyes, stands among the rubble of the devastated village. Her petite figure is in stark contrast to her proud manner but it is her gaze that captures Margaret's attention. The girl holds a small tricolor in her hands, the symbol of her nation, and holds it tightly as she looks up towards the gray sky full of clouds with a face that shows determination and an inner strength that shines through in her eyes her. Without hesitation, Margaret raises her camera, knowing that what she is about to capture will become an indelible testament to the hope and resilience of the Russian people at war. With one click, the image is captured for eternity, immortalizing the young girl and her symbol of hope in the midst of chaos and destruction.

The scene returns to the present. Margaret sighs as David and also Clara listened almost with their mouths open to Margaret's almost poetic tales of those difficult months in Russia during the Second World War. A moment later Margaret grimaces. Clara and David approach with a wave of concern while the photographer says that she needs help getting up and being accompanied to the bathroom. Clara helps her and the two women head towards the bathroom. David almost curses when he sees the suffering of his idol and thinks about how many other things he could have done if only Parkinson's Disease hadn't struck her at a relatively young age. David sits down and continues to browse the photos, stopping at the one that portrays Margaret with Gandhi (Faran Tahir).

Calcutta, India, 1946. Margaret arriving in India by train, along with other journalists and war correspondents. You were sent by Life to document the situation of the country, which is experiencing a crucial moment in its history: the struggle for independence from British rule, and the division between India and Pakistan, which caused violence and massacres between Hindus and Muslims. A hot sunny day, with the sound of the voices of the crowd rising from the local market. Margaret Bourke-White stands in the heart of the city, her camera slung over her shoulder. She is determined to capture the soul of India at a time of change and independence. Gandhi is sitting on a jute rug in the shade of a large banyan tree. He is wearing his traditional white dhoti and is conversing with some followers. Margaret approaches Gandhi with respect, trying not to disturb his meditation. He looks at her with kind eyes and smiles. Margaret holds up the Leica and takes a photo of her. Gandhi remains motionless, as if he knows that this moment will be important for both of them. The photo captures Gandhi with his wooden cane and deep eyes, reflecting on India's struggle for independence. Margaret captures the essence of a man who embodies non-violence and determination. Margaret slowly walks away, leaving Gandhi to meditate on her.

Shortly afterwards she receives a note from a local boy from Gandhi inviting her to spend time with him in the afternoon. A few hours later Margaret is joined by one of Gandhi's collaborators, who offers to take her to Gandhi's ashram, where the Mahatma lives and conducts his campaign of nonviolent resistance. Margaret accepts, and gets into a carriage, taking with her her camera and her passport. Margaret and her assistant arrive at the ashram, where they see Gandhi spinning cotton on a spinning wheel. The collaborator explains to her that Gandhi spun cotton every day, as a gesture of humility and solidarity with the poor and oppressed. Margaret becomes fascinated by Gandhi, and she asks the collaborator to introduce her to him, and to ask him for permission to photograph him. The collaborator agrees, and takes Margaret to Gandhi. Gandhi welcomes Margaret with a smile, and tells her that he is pleased to meet her. Margaret tells him that she admires his work and his philosophy, and that she would like to photograph him to show the world his message of peace and justice. Gandhi tells her that she agrees, but with one condition: that she try to spin cotton with him, to understand the meaning of her gesture. Margaret accepts, and she sits next to Gandhi, who teaches her how to use the spinning wheel.

Margaret tries to spin cotton, but she can't get it right. Gandhi encourages her, and tells her it's a matter of practice and patience. Margaret laughs, and says it's easier to take pictures than to spin. Gandhi tells her that both activities require concentration and dedication, and that they can be used to communicate and educate. Margaret asks him what she means. Gandhi tells her that photography is an art that can show reality and truth, and that it can influence people's opinions and emotions. Margaret tells him that he agrees, and that's what she's trying to do with his photos of her. Margaret decides to photograph Gandhi, and she asks him to continue spinning cotton, as if she were not there. Gandhi agrees, and repeats her gesture. Margaret frames him with her camera, and tries to capture his appearance and mood. Margaret's voice can be heard saying: "This was one of the most significant photos I took. I wanted to show Gandhi as he was, a simple and profound man, who changed the world with his non-violence and his love. I also wanted to show his connection with cotton, which was the symbol of his struggle for India's independence and self-sufficiency. I wanted to capture a historical moment, and I think I succeeded."

The young journalist leafs through Margaret's photo album. In the end, his eyes focus on a particularly significant photo: an industrial shot, an image linked to racial integration in the United States at the end of the 1950s. The boy holds up the photo, showing the image to Margaret. Margaret, elderly and with the signs of time and illness on her face, looks at the photo of her with a melancholy smile. The scene dissolves into a flashback.

Margaret, now suffering from Parkinson's symptoms, walks with uncertain but determined steps inside a factory. The machines roar and smoke envelops the industrial environment. Her hands shake as she readies her camera, but her resolve is intact. In front of her, the workers are intent on their tasks, a symbol of workers' resilience and strength. Margaret approaches slowly, trying to capture the essence of industrial life and hard work. With a click, she immortalizes the image: workers concentrated in their activities, with sweat running down their faces and calloused hands handling the tools. It is a tribute to the working class and their unstoppable strength. The flashback continues showing the difficulties Margaret faces due to Parkinson's. We see her working with dedication, despite the tremor that makes it difficult to keep the camera still. Her passion for photography and the desire to document her truth push her forward, even when her body begins to betray her. The scene shifts to a few days later, when Margaret is in hospital undergoing delicate brain surgery in an attempt to alleviate the symptoms of Parkinson's. We see Margaret on the hospital bed, with a camera placed next to her, a symbol of her unwavering commitment.

Margaret, her eyes bright with memories, looks at the young journalist. He smiles, understanding the importance of that image and the courage behind it. A moment of silence is created full of respect and admiration. The reporter thanks Margaret for sharing her story and gets up to leave. Before leaving, however, she turns and asks if there is anything she would like to say to anyone who sees her work in the future. Margaret reflects for a moment, then responds with a wisdom that only years of experience can provide: "The truth is always important, even when it is hard to see. Keep seeking it and showing it, regardless of the obstacles." She then tells the boy to take her photo album and keep it. The two hug each other tenderly. The scene ends with the reporter walking out of the room, leaving Margaret alone with her memories, as the camera focuses on the woman's eyes slowly closing as she looks out the window.