On 12 Years a Slave

Is this a film so important that everyone should see it? Does it stand alongside films about the Holocaust as an exploration as one of the greatest tragedies in humanity? Should we be ashamed that such horrendous acts are part of our recent history? Steve McQueen’s 12 Years a Slave certainly raises these questions, but refuses to lecture us, which is to his credit.

Coming on the back of the critically acclaimed Lincoln (2013) and Django Unchained (2013), 12 Years a Slave strives to present the brutality and for this reason could be the most honest and accurate representation of slavery. This is as oppose to Lincoln’s well crafted political wrangling and Django Unchained’s mostly misjudged cartoon presentation.

And brutality is present and for many it is this that stands out. The relentless cruelty is difficult. Brief moments of hope are cut short by further degrading, violent behaviour. McQueen’s direction of his actors and his art installation cinematography only serve to enhance the cruelty, yet at the same time are to be admired. An uncomfortable oxymoron. The acting is flawless, with Fassbender and Ejiofor drawing on all their talents to deliver powerful performances of suffering and hatred.

By drawing on motifs from his previous features, Hunger (2008) and Shame (2011), McQueen uses his long takes, beautifully framed, to force his audience to face the horror. Force them to ask the questions mentioned above, without dialogue, without preaching. As Ejiofor’s Northup hangs from a tree, barely able to stand, McQueen sits his camera still, simply watching as life in this lush South American landscape comes to life. The juxtaposition of beauty and horror symbolic of the films message. There is beauty in life and living it, yet horror in our own history at how we prevented people from experiencing it. 

12 Years a Slave should be seen and despite its viciousness it should be seen by most audiences. The issue is too important to solely be treated in an abstract manner.