Hollywoodgate: How leftover booze and $7 billion in weapons marked the return of the Taliban’s military takeover of Afghanistan

On August 16, UK cinemas will release Hollywoodgate, a 2023 documentary film written by Egyptian director Ibrahim Nash'at.

In just an hour and a half, the film captures the Taliban's evolution from a militia into a military regime, offering a chilling glimpse into Afghanistan's future under their rule.

The timing of the release is significant. Just one day earlier, the world will have remembered the fall of Kabul to the Taliban on August 15, 2021, marking the sudden collapse of the West's 20-year mission in Afghanistan.

The world watched in horror as desperate Afghans clung to a US military plane taking off from Kabul airport, with some tragically falling to their deaths.

While many were desperate to flee Afghanistan, others were keen to see how the Taliban would reshape the country.

Among them was Germany-based Nash'at who, despite having never been to Afghanistan before, decided to fly there and document the Taliban's takeover.

Witnessing the events from his home in Berlin, Nash'at was motivated by his extensive experience in conflict zones, including his documentation of the 2011 Egyptian uprising.

Drawing on his work with Deutsche Welle and Al Jazeera, he spent a year in Afghanistan, living with the Taliban and capturing their transition in a film.

'That little devil is filming us'

The film opens with a stark image of the aftermath at the Hollywood Gate complex — a former CIA base — following the US troop withdrawal from Afghanistan in 2021.

This opening scene contrasts trivial items like a bottle of Red Label, Jägermeister, Bud Light, Leffe, and a sign reading "Beer is not free, $2," with the more significant remnants: $7 billion worth of weapons, including planes, helicopters, and M16 rifles.

Mawlawi Mansour, the new head of Afghanistan's Taliban-controlled air force, describes this discovery as a "treasure trove," though his words carry a dark irony, as the Taliban initially had no idea how to operate these abandoned weapons.

This moment may seem humorous to viewers, though it shouldn’t be.

With the help of translators, Nash'at's film focuses on two key figures: Taliban lieutenant Mukhtar and his superior, Mansour.

The filming was far from straightforward, as he faced extreme challenges, including frequent threats to his life if he didn’t portray the Taliban favourably.

"That little devil is filming us," remarked one Taliban soldier during the film. At another point, Mansour ominously comments, "If his intentions are bad, he will die soon."

This constant threat casts a shadow over the film, making it feel at times like Taliban propaganda and raising questions about whether the camera can ever truly capture reality.

Despite these constraints, Nash'at strove for an honest portrayal.

"I had to present the image of the Taliban that they wanted me, and everyone else, to see," he admitted in an interview with The New Arab at the Curzon office in London’s Soho.

"They were seeking validation from the media to change their image," Nash'at added.

However, despite their attempts to reshape their image, the Taliban’s history of brutality cannot be "changed."

Their rule has been marked by stoning and beating women, removing education for girls, suppressing identities —mannequins’ heads are now mostly covered by plastic bags or wrapped in foil — and committing extrajudicial killings of civilians. The list goes on.

While Nash'at cannot be judged for the limitations imposed on him, one significant shortcoming of the film is its limited focus on Afghan citizens, particularly the women who suffer most under Taliban rule.

Nash'at originally intended to highlight their plight but was hindered by the afore-mentioned restrictions.

Despite these challenges, Nash'at stresses that he was able to document the lives of Afghans through the development of his two main characters.

"With the support of an incredible film team, through the development of Mukhtar and Mansour, I was able to capture a broader understanding of the Afghan experience, making the characters relatable enough for viewers to sense the broader impact of the Taliban’s return," Nash'at commented.

For example, there are moments in the film that subtly touch on the position of women under Taliban control without actually filming any women.

Overheard references and television images hint at the oppression women face, but this critical issue remains mostly outside the scope of the documentary.

Even so, a telling scene shows Mansour, seeking to bolster his own standing, mentioning that he married a qualified doctor, but quickly adds that after their marriage he insisted she stop practicing her profession.

Endless cycle of conflict

Nash'at’s stylistic approach to Hollywoodgate is influenced by American filmmaker Frederick Wiseman, who is known for his documentaries that allow audiences to draw their own conclusions.

"This approach gives the audience a chance to understand more deeply, rather than being told what to think," Nash'at explains.

The film reaches its climax with a dramatic Taliban military parade, attended by representatives from China, Iran, and Russia. Through this scene, Nash'at aims to convey two key messages.

First, the film highlights the endless cycle of conflict in Afghanistan.

Nash'at points out that the film begins with George Bush’s declaration, "We are coming to you, Afghanistan, for harbouring the terrorist group Al Qaeda," and ends with Mansour addressing the Ministry of Defence of Tajikistan, "We’re coming to you for harbouring our terrorists."

This framing is intentional, illustrating that "The vicious cycle of war never ends," as Nash'at puts it.

Second, the film counters the notion that the Taliban represents all Muslims. "I wanted to show the world that this is not the case," Nash'at asserts. "They do not represent me."

Afghanistan, the forgotten country

Ultimately, the film's ending delivers a strong critique of the 20-year US and NATO mission, serving as a powerful reminder of Afghanistan's ongoing struggles and the apparent futility of the prolonged military intervention.

While the film highlights the director's courage, it's frustrating that such a life-or-death experience was needed to remind us that Afghanistan still matters.

This leaves the viewer with a pressing question: why do we so easily forget wars like the one in Afghanistan?

One reason is that the country has been overshadowed by other major news events and conflicts that have received more media coverage.

As time goes on, people's attention often shifts to newer issues, making it harder for ongoing or past conflicts to stay in the public eye.

Additionally, the war in Afghanistan may seem distant or less relevant to many people’s daily lives compared to more current or local issues.

Nash'at, passionate about filmmaking, hints at future projects but does not disclose the details.

"I have another secretive project that I’m working on now," he teases.

Zainab Mehdi is The New Arab's Associate Editor and researcher specialising in governance, development, and conflict in the Middle East and North Africa region

Follow her on X: @zaiamehdi