
Beyond Baghdad
2004

2014
TV-MADirector
Martin Smith
Runtime
54 minutes
Average Rating
No ratings yetSynopsis
FRONTLINE investigates the miscalculations and mistakes behind the brutal rise of ISIS. Correspondent Martin Smith, who made "Truth, War & Consequences," "Beyond Baghdad," "Private Warriors" and "Gangs of Iraq," reports from Iraq on how the country began coming undone after the American withdrawal and what it means for the U.S. to be fighting there again.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The documentary does not center on LGBTQ+ identities or narratives. It lacks explicit queer narratives or critiques of heteronormativity, focusing instead on macro-geopolitical movements and state-level collapse.
Gender Representation
The film depicts the subjugation of women under ISIS rule as a central component of extremist ideology. It serves as a witness to systemic violence and radicalized gender roles rather than deconstructing them.
Racial & Ethnic Diversity
The film excels by centering Sunni, Shia, and Kurdish voices to disrupt monolithic Middle Eastern tropes. It provides high agency to local residents and refugees, examining how colonial borders contributed to instability.
Religious & Cultural Diversity
The documentary explores the breakdown of traditional state authority and the rejection of Western political norms. It critiques Western geopolitical hegemony and the failure of Western-imposed political structures.
Disability Representation
The film captures the physical and psychological trauma of war, but does not feature intentional narratives regarding neurodivergence or visible disabilities. Depictions of injury are incidental to the conflict documentation.
Strengths
Areas for Improvement
AI Analysis
The documentary functions as a geopolitical autopsy, prioritizing ethnographic accuracy and structural analysis. Its primary strength is the refusal to present a homogeneous view of the Middle East, instead utilizing a post-colonial lens to highlight complex ethnic and religious tensions. However, the film lacks intentional focus on subverting social norms. It does not feature specific LGBTQ+ narratives or focused studies on disability agency, as the subject matter remains centered on macro-level state collapse and extremist governance. Ultimately, the work succeeds in providing a sophisticated critique of Western institutional efficacy and the systemic consequences of historical border-drawing, even while remaining a witness to, rather than a deconstructor of, traditional gender hierarchies.

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