Director Steve McQueen Shows War through Child’s Eyes in New Film ‘Blitz’

 This image released by Apple TV+ shows Saoirse Ronan, left, and Elliott Heffernan in a scene from "Blitz." (Apple TV+ via AP)
This image released by Apple TV+ shows Saoirse Ronan, left, and Elliott Heffernan in a scene from "Blitz." (Apple TV+ via AP)
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Director Steve McQueen Shows War through Child’s Eyes in New Film ‘Blitz’

 This image released by Apple TV+ shows Saoirse Ronan, left, and Elliott Heffernan in a scene from "Blitz." (Apple TV+ via AP)
This image released by Apple TV+ shows Saoirse Ronan, left, and Elliott Heffernan in a scene from "Blitz." (Apple TV+ via AP)

Oscar winner Steve McQueen had long wanted to make a movie about the Blitz - Germany's wartime aerial bombing of British cities - but it was seeing a photo of a Black boy waiting to be evacuated that inspired him to explore the theme through a child's eyes.

His film "Blitz" is based on thorough research and true events, the British director of "12 Years a Slave" and "Hunger" told Reuters in an interview.

While researching another project, he came across the photo of the boy at a train station - one of hundreds of thousands of British children to be evacuated from towns and cities during World War Two.

The film stars Saoirse Ronan as Rita, a Londoner who sends her son George, played by newcomer Elliott Heffernan, to the countryside for safety during the war. But George is determined to return home despite the dangers ahead.

Many of the characters and events George encounters are based on extensive research and documented by author Joshua Levine, who joined the project as a historical adviser, said McQueen.

"I thought, 'you've got to get it right'," McQueen said.

"In fact, the research sort of just propelled me and inspired me to the story and George's odyssey through London at that time. It was exciting because you found all these characters, all these facts, which most people unfortunately didn't know, and you want to sort of illuminate them on screen."

The Blitz - from the German word Blitzkrieg, or "lightning war" - lasted from Sept. 1940 until May 1941. For Britons it conjures up images of Londoners huddling in underground shelters and rallying to battle blazes and rescue people from the rubble.

McQueen said he had discovered a diverse, "quite cosmopolitan" London through his research.

"There was a large Chinese community and there was a Black presence. There was all kinds of presence here in London. I wasn't trying to push some kind of narrative. It was just what one found within the sort of everyday of London," he said.

Like George, 11-year-old Heffernan embarked on a transformative journey with the movie.

"It was a big adventure being on my first film, seeing how films are made and going out on different locations," said Heffernan, who was nine at the time of shooting.

The movie also proved new territory for four-time Oscar-nominee Ronan, who spent months working with a vocal coach to prepare for scenes which see her singing live.

"It's the kind of thing I've always been terrified to do in front of everyone, but I've always wanted to do it," Ronan, 30, told Reuters.

"It was incredible to see how strong you can become at something that you're just not a professional at after a few months. It gave me a lot of confidence."

"Blitz" is out in select cinemas on Nov. 1 and will stream on Apple TV+ from Nov. 22.



The Real-Life Violence That Inspired South Korea’s ‘Squid Game'

Riot police march in front of the main building of Ssangyong Motor in Pyeongtaek, 70km south of Seoul, on August 6, 2009. (AFP)
Riot police march in front of the main building of Ssangyong Motor in Pyeongtaek, 70km south of Seoul, on August 6, 2009. (AFP)
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The Real-Life Violence That Inspired South Korea’s ‘Squid Game'

Riot police march in front of the main building of Ssangyong Motor in Pyeongtaek, 70km south of Seoul, on August 6, 2009. (AFP)
Riot police march in front of the main building of Ssangyong Motor in Pyeongtaek, 70km south of Seoul, on August 6, 2009. (AFP)

A factory turned into a battlefield, riot police armed with tasers and an activist who spent 100 days atop a chimney -- the unrest that inspired Netflix's most successful show ever has all the hallmarks of a TV drama.

This month sees the release of the second season of "Squid Game", a dystopian vision of South Korea where desperate people compete in deadly versions of traditional children's games for a massive cash prize.

But while the show itself is a work of fiction, Hwang Dong-hyuk, its director and writer, has said the experiences of the main character Gi-hun, a laid-off worker, were inspired by the violent Ssangyong strikes in 2009.

"I wanted to show that any ordinary middle-class person in the world we live in today can fall to the bottom of the economic ladder overnight," he has said.

In May 2009, Ssangyong, a struggling car giant taken over by a consortium of banks and private investors, announced it was laying off more than 2,600 people, or nearly 40 percent of its workforce.

That was the beginning of an occupation of the factory and a 77-day strike that ended in clashes between strikers armed with slingshots and steel pipes and riot police wielding rubber bullets and tasers.

Many union members were severely beaten and some were jailed.

- 'Many lost their lives' -

The conflict did not end there.

Five years later, union leader Lee Chang-kun held a sit-in for 100 days on top of one of the factory's chimneys to protest a sentence in favor of Ssangyong against the strikers.

He was supplied with food from a basket attached to a rope by supporters and endured hallucinations of a tent rope transformed into a writhing snake.

Some who experienced the unrest struggled to discuss "Squid Game" because of the trauma they endured, Lee told AFP.

The repercussions of the strike, compounded by protracted legal battles, caused significant financial and mental strain for workers and their families, resulting in around 30 deaths by suicide and stress-related issues, Lee said.

"Many have lost their lives. People had to suffer for too long," he said.

He vividly remembers the police helicopters circling overhead, creating intense winds that ripped away workers' raincoats.

Lee said he felt he could not give up.

"We were seen as incompetent breadwinners and outdated labor activists who had lost their minds," he said.

"Police kept beating us even after we fell unconscious -- this happened at our workplace, and it was broadcast for so many to see."

Lee said he had been moved by scenes in the first season of "Squid Game" where Gi-hun struggles not to betray his fellow competitors.

But he wished the show had spurred real-life change for workers in a country marked by economic inequality, tense industrial relations and deeply polarized politics.

"Despite being widely discussed and consumed, it is disappointing that we have not channeled these conversations into more beneficial outcomes," he said.

- 'Shadow of state violence' -

The success of "Squid Game" in 2021 left him feeling "empty and frustrated".

"At the time, it felt like the story of the Ssangyong workers had been reduced to a commodity in the series," Lee told AFP.

"Squid Game", the streaming platform's most-watched series of all time, is seen as embodying the country's rise to a global cultural powerhouse, part of the "Korean wave" alongside the Oscar-winning "Parasite" and K-pop stars such as BTS.

But its second season comes as the Asian democracy finds itself embroiled in some of its worst political turmoil in decades, triggered by conservative President Yoon Suk Yeol's failed bid to impose martial law this month.

Yoon has since been impeached and suspended from duties pending a ruling by the Constitutional Court.

That declaration of martial law risked sending the Korean wave "into the abyss", around 3,000 people in the film industry, including "Parasite" director Bong Joon-ho, said in a letter following Yoon's shocking decision.

Vladimir Tikhonov, a Korean studies professor at the University of Oslo, told AFP that some of South Korea's most successful cultural products highlight state and capitalist violence.

"It is a noteworthy and interesting phenomenon -- we still live in the shadow of state violence, and this state violence is a recurrent theme in highly successful cultural products."