Although DeHart’s case has sparked considerable speculation both as to his own motives and those of the government, Kennebeck manages to walk the fine line of not giving preference to either, instead demonstrating how the seeds of doubt planted by both sides are allowed to persist and distract from actually revealing the truth of the matter when it could be damaging to all. While the situations she dives into are always murky, Kennebeck finds ways to convey them clearly, incorporating haunting shots from the sky in “National Bird” to accompany warnings of how American drones peppered Afghanistan with bomb blasts that likely were unconcerned with civilian casualties, and now peeking behind closed doors in “Enemies of the State,” following career bureaucrats at federal offices wander through endless hallways where cases like DeHart’s can be stuck in endless limbo and without any consistently reliable sources to tell the story, the director ingeniously takes testimony offered during DeHart’s court appearances and puts it in the mouths of actors, using lip-synced recordings to convey a reality where even when a person is speaking their truth, it has to be considered in a grander context. foreign policy that is largely shrouded in mystery as those who have enlisted to work on their behalf find themselves coming to question what their efforts are actually for.
A rare filmmaker in her consideration of the big picture, not only as far as her far-reaching investigations, but in terms of how she presents them, Kennebeck has burrowed deeper with each successive film to give shape to U.S. With DeHart now behind bars, only his parents Paul and Leann are around to defend him, going so far as to seek out political asylum in Canada when they come to believe the FBI and CIA are conspiring against them and Kennebeck untangles the wild story of their bid to break free, uniquely suited to tell a story in which it’s likely no one is telling the whole truth but everyone holds at least a piece of it. presidential election, and “Enemies of the State,” an alternately riveting and troubling look at the case of Matt DeHart, a former member of the Air National Guard who finds himself caught up in charges of soliciting sexually explicit pictures of a minor when it’s revealed he may have been privy to sensitive and concerning information about American drone operations in foreign countries, that’s now arriving in theaters after premiering as part of the Toronto Film Festival last fall. Reality Winner,” a chronicle of the whistleblower’s increasingly outrageous prison sentence for leaking documents as an NSA subcontractor that demonstrated Russian interference in the 2016 U.S. In fact, Kennebeck recently completed work on not one but two such films that have been the talk of the festival circuit in recent months, debuting at SXSW “United States vs. After making her arresting debut feature “National Bird,” Sonia Kennebeck had mentioned a desire to try her hand at fiction films some time soon, but in a world where the lines have increasingly blurred, there has simply been no need to stray from her roots as a journalist to find stories with unbelievable twists and turns.
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