The film takes as its structure a relationship of addresses and events, narrated in a monotone tone by the actress Melanie Hyams, but contrasting the story of the past with the images of the present in the streets of Amsterdam, provoking a questioning look that questions the need not to forget. Most of the images were recorded during the coronavirus pandemic, which gives it a unique perspective. One of the announcements from local authorities heard on the radio establishes a curfew, remembering that the last time an exceptional measure like that was ordered was during World War II. The decision not to artificially provoke emotions establishes a cadence and structure that may feel monotonous at first, but that absorbs the viewer as it develops, capturing everyday images shot over three years in 35mm. with a 4:3 format that refers to the British documentary films of the sixties. It is remembered that 75% of the Jewish population of Amsterdam did not survive the occupation, losing about 60,000 Jews of the 80,000 who lived there, cold numerical data that nevertheless reminds us of the magnitude of the horror. By choosing a cinematographic format and an immovable narrative structure, there is a clear invitation to get caught up in the images and the voice-over, within their uniform tone, which reveal two different Amsterdams: one that remembers and another that seems to forget.

EXT. IT BELONGS IN A MUSEUM - DAY

Occupied City is redefining the 'Documentary' genre. This film is a series of stories passed onto Steve McQueen, now passing them onto us. It narrates those stories whilst giving us a glimpse into the current affairs in Amsterdam. This pure juxtaposition shows how far we have come yet how quickly we can turn back. The reason I've titled this review "It's Belongs in A Museum" is not because I have a ticket for the new Indiana Jones film here at Cannes (but it has little to do with that). This film isn't something to watch during a visit to the cinema; it should be on display somewhere, a four-and-a-half-hour loop of each moment, story, fact and stunning cinematography that this film has to offer.

Suppose I explain why I'm so optimistic about this film yet only giving it 3.5 stars. In that case, it's because, as a film, anything more than 4 hours without a narrative flow is a complicated watch. Still, as I said, this belongs in a museum or an art gallery on display for you to sit and watch for a moment; when you're ready, you can leave but come back anytime. Yet I was in a cinema for more than 4 hours. This film would still be compelling at 2 hours long, yet McQueen leaves nothing on the cutting room floor. There were moments in which I wanted it to be over, but then another story or particular shot would drag me back in. But within this film, there is a tighter, more cohesive narrative where the simpler/less impactful stories are excluded. But it seems that McQueen wanted a leg in the race for the longest film of the Decade award.

Overall, if you can watch this film, maybe not in cinemas but divide it up over four nights, giving you enough time to take in each story this film presents.

FADE OUT.

Added Shout out:
Thanks, Mr McQueen, for giving us an intermission; long, long films need to start having these baked in.