Hunger

In 1981, Irish political prisoner Bobby Sands went on a hunger strike in protest of the removal of the “Special Category Status” for Irish political prisoners by the British government. Sands’ hunger strike was preceded by the notorious “no wash” protests, in which the Irish prisoners defiantly refused to bathe while incarcerated. First-time director and acclaimed visual artist Steve McQueen tackles both struggles in his film, “Hunger” (2008). Through the employ of visceral images, political discourse, and the centerpiece – a harrowingly committed performance by actor Michael Fassbinder, McQueen has created a haunting depiction of the lengths to which a human being will go to have their voice be heard.

“Hunger” opens with quiet tension. A paranoid prison guard walks from his house to his car, checking for hidden explosives before he drives away. He then drives to the prison where the “no wash” protests have been underway for weeks. Here McQueen shows us the disgusting conditions and the impassioned prisoners that live in them. They are treated poorly, and beatings are frequent.

The film then segues into a lengthy scene between our main character, Bobby Sands (who is introduced nearly halfway through the film), and a priest who he has called to discuss revolutionary strategy with. The two sit at a table and talk of an upcoming hunger strike that is to take place. Here Sands gives his emotional and political justifications for his revolutionary actions. The entire scene is shown in just one 17-minute take that respects the reality of the encounter. The final half hour of the film graphically chronicles his hunger strike, and allows viewers to visually experience an action of true passion and revolt.

“Hunger” is a film that is unsurprisingly driven by its images. Feces adorn the walls of prison cells, piles of rotting food are cloistered in corners, and unshaven prisoners battle guards amongst the filth and grime. The hunger strike is carefully calculated, and achingly depicts the physical deterioration of an impassioned human body. McQueen keeps his camera eerily still throughout the film, giving the events a sense of palpable reality and austere urgency. The whole experience is revolting, yet strangely beautiful, as we see a man sacrifice his body for his higher-minded political ideals.

At the core of the film is the impactful performance of Michael Fassbinder. To prepare for the role, the actor lost forty pounds, adopting a sickly, emaciated look. Bobby Sands is a character of stunning conviction, and Fassbinder’s rendering of him is a perfect marriage of form and content. The actor physically and emotionally embodies the character, and offers up a visceral, honest performance.

“Hunger” is a film that avoids the pitfall of taking a decidedly political stance. While the prisoners are mistreated, we are also shown the strike’s psychological effects on the prison guards. This leads to a quality of transcendence that permeates every frame. It allows viewers to experience the passion, disgust, and anguish felt by people who are disenfranchised and silenced. The purity of the struggle rises above the political context, and the result is a film that speaks to the universal need for the human voice to be heard.