The Divided Island
Cey Sesiguzel’s documentary views the history of Cyprus as a warning that peace and unity are conditions that have to be fought for.
Image courtesy of Jade Films.
In recent times Gaza, Ukraine and Lebanon have dominated the news headlines to such an extent that it is understandable that other conflicts are readily overlooked. That is particularly true of the situation in Cyprus, the island which is the focus of this film, and there is nothing surprising about that given that actual violence, intense at times in the 1960s and later, died out after 1974 when the island was partitioned. But, as with Israel and Palestine, the conflict between Greek Cypriots and Turkish Cypriots (the latter about one fifth of the population and based in the north) has its roots way back in history and remains a constant concern since it could at any time spark back into outright belligerency.
The Divided Island takes a look at the issue showing concern for the future as it considers the past and its character is set by the fact that the film has been a collaboration between its director, the Turkish Cypriot Cey Sesiguzel, and a co-producer, Andreas Tokkallos, who is a Greek Cypriot. The concluding section of the film gives screen time to two relative youngsters who similarly ignore this divide to work together under the, banner ‘Unite Cyprus Now’ – Andromachi Sophocleous is a Greek Cypriot and Kemal Baykalli a Turkish Cypriot. The film acknowledges that not everyone on the island supports their wish to unite the people of Cyprus and thus to unite the country, but the film is undoubtedly on their side anxious to find a way to a deep and peaceful settlement.
In adopting this view, The Divided Island points out that if the Greek presence goes back some four thousand years the Turks have been there for at least four hundred and are thus sufficiently established not to be dismissed as newcomers. That both groups have common roots is stressed and the film, despite featuring two professors, a political scientist named James Ker-Lindsay and the historian Andrekos Varnava, is keen to include many comments from ordinary citizens, many of them old enough to recall a time in their youth when the Greeks and Turks on Cyprus co-existed as friendly neighbours. When it comes to recalling later times, the talk turns to bereavement due to fighting and to atrocities committed by both factions in the 1960s and 1970s. It is characteristic of the film’s humane attitude that a further contributor invited to consider this history should be Tom Fortis-Mayer who is a trauma therapist.
The filmmakers are doubtless aware that some viewers will, like myself, have relatively limited knowledge of the history of Cyprus and therefore the film attempts to outline it using archive footage in addition to the newly photographed scenes in which the experts and the ordinary people have their say. For the most part what we are given comes in chronological order looking back first to the days when Cyprus was a British colony, to Greece’s EOKA organisation in the 1950s which opposed the British, to the role played by Archbishop Makarios as head of the Greek Orthodox Church and to the desire of many to unite Cyprus with Greece (Enosis). While independence came in 1960, that did nothing to settle matters with civil war breaking out in 1963. While the islanders themselves were certainly at odds with one another, Cyprus was also a bone of contention for the powers that be in Greece and Turkey (the latter making a military intervention on its soil in 1974 following an attempted Greek coup) and in addition the island’s strategic position made it a concern of other countries too including Britain which has retained two military bases there. The worst periods of violence encouraged revenge killings and another speaker here, the investigative journalist Sevgül Uludaǧ, speaks of all the missing persons. Both sides were responsible for what resulted in mass graves being dug.
I have seen one review of the film which bitterly takes it to task disliking its attempt to blame both sides equally and suggesting that some of the history is curtailed and thus misrepresented. I am in no position to say whether or not such comments are justified but consider that, by apportioning blame to both sides, the film is not being propagandist save in asking for mutual understanding and empathy. In the process The Divided Island is not particularly cinematic (it would work perfectly well as a piece of television) and, while there is a lot of material to get through, ninety minutes on the subject is perhaps somewhat akin to attending a talk or lecture. But its value lies in spotlighting a history that should not be neglected and as a warning of the extent to which this situation has parallels with others elsewhere. In asking that Cyprus and its citizens work for peace, the importance of recognising that need extends to other regions too: as it is put in this film "An eye for an eye – the world goes blind".
MANSEL STIMPSON
Featuring James Ker-Lindsay, Andrekos Varnava, Sylvia Zacharia, Yaşar Ismailoǧlu, Tom Fortis-Mayer, Christina Pavlou, Suleyman Camgoz, Nick Yiannoullou, Sevgül Uludaǧ, Serife Gül, Ipek Özerim, Andromachi Sophocleous, Kemal Baykalli.
Dir Cey Sesiguzel, Pro Cey Sesiguzel, Andreas Tokkallos and Richard Merrills, Ph Glen Mountford, Eduardo Camara and Fatosh Olgacher, Ed Ciara Flint, Music Isin Eray.
Two Fresh Productions-Jade Films.
90 mins. UK. 2024. UK Rel: 1 November 2024. Cert. 15.
