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Movie review of '22 July' by Paul Greengrass
Paul Greengrass lays out the deadliest terrorist attack of 2011, Norway had ever seen in her history, through his real-life thriller 22 July.

The film portrays a truthful account with narrative integrity and the psychologic complexity to grab the viewers' mind. It adds to the array of movies like Bloody Sunday, Captain Phillips and United 93 by the same director, with its immaculate presentation. The attack on 22 July 2011 shook Norway from every side. The film shows a sober investigation leading to a gripping courtroom drama along with an emotional personal experience of a family that struggles to go ahead.

The screenplay is based on the book One of Us: The Story of a Massacre in Norway and its aftermath by Asne Seierstad. It serves as stirring memorial to the 77 lives lost in a summer camp and hundreds of people struggling with gashes of pain. The terrorist belonged to a far-right extremist group took birth out of xenophobia and warped notion of patriotism, Europe raises its head to. The movie starts with the careful carrying out of plans by the perpetrator Anders Behring Breivik (Anders Danielsen Lie). He had mixed fertilizer and nitrates in the barn of an isolated farm. Then he loads his home-made bombs into his van and drives to the administration center of Norway, The scene goes in between to the youth group of the Labour Pary and their ferry traveling to Utoya Island. The prime minister is being briefed on his address to the youth conference scheduled for the next day. In the camp, at the outset,  a youth named Viljar (Jonas Strand Gravli) describes the multinational makeup of his small community he belongs to.

Breivik the terrorist, with no regrets, very skilfully takes the ferry to the island and starts mowing down the youths. He, without even having the slightest of resilience and remorse, claims that he belongs to a war group aims at capturing his country back by wiping out the children of the Liberal elite. He proclaims a rhetoric demanding a ban on immigration and the programs officially put across in favour of multiculturalism.

The widespread allegiance to providing asylum to the refugees by European governments caused a secret resurgence of the far right. The initial explosion at the Oslo Government district, the prelude to carnage created terrible chaos. The scene that shows the group that included Viljar and his younger brother Torje (Isak Bakli Aglan) clambers down a rock, will hold our breath. Nothing other than the brutal death and the delay in the remedial measures and a consequential anxiety, the director carefully handles the violence within the required border. Viljar undergoes a tough treatment in the hospital including emergency surgeries and recovers slowly to life. Christin (Maria Bock), the mother of Viljar and Torje and father Sveinn (Thorbjorn Harr) are carefully directed in handling the trauma, unlike the cliches we kept seeing in many other movies.

In short, the film has been uncompromisingly and masterfully crafted in chronicling the devastating event. The film had its world premiere in Toronto International Film Festival 2018 in September and recently been released in the Netflix.

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