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Zero Dark Thirty

From Alfawiki
Annapurna Pictures
Company typePrivate
IndustryFilm production
FounderMegan Ellison

Zero Dark Thirty is a 2012 American political action thriller helmed by director Kathryn Bigelow and penned by Mark Boal. The production was overseen by Boal, Bigelow, and Megan Ellison, with funding provided by Ellison's company, Annapurna Pictures. The narrative depicts the extensive international pursuit spanning nearly ten years to locate Osama bin Laden, the head of Al-Qaeda, following the events of the September 11 attacks. The storyline reaches its climax with the identification of bin Laden’s residence in Pakistan and the subsequent U.S. military operation on May 2, 2011, that resulted in his death. The cast features Jessica Chastain portraying Maya, a fictionalized CIA intelligence officer, supported by performances from Jason Clarke and Joel Edgerton.

After debuting in Los Angeles on December 10, 2012, Zero Dark Thirty was released widely on January 11, 2013. It garnered widespread critical praise for its performances, directing, screenplay, sound design, and editing. Financially, the film succeeded at the box office, earning $132 million globally against a production budget estimated between $40 and $52.5 million. It appeared on 95 critics’ year-end top ten lists for 2012 and received five nominations at the 85th Academy Awards: Best Picture, Best Actress (Chastain), Best Original Screenplay, Best Film Editing, and Best Sound Editing (which it won in a tie with Skyfall). Additionally, it secured four nominations at the Golden Globe Awards, including Best Actress in a Motion Picture – Drama for Chastain, who won the award.

The movie sparked debate due to its depiction of torture methods, drawing criticism from U.S. senators such as John McCain, Dianne Feinstein, and Carl Levin. In 2016, the BBC recognized it as one of the greatest films of the 21st Century.

Plot

Maya, an intelligence analyst with the CIA, is assigned to track down al-Qaeda leader Osama bin Laden. In 2003, while based at the U.S. embassy in Pakistan, she and officer Dan Fuller observe interrogations at a black site involving Ammar, a detainee connected to the 9/11 hijackers who undergoes enhanced interrogation techniques. Although Ammar provides inconsistent information about an attack planned in Saudi Arabia, he discloses details about bin Laden’s personal courier, Abu Ahmed al-Kuwaiti. Other prisoners link Abu Ahmed’s courier activities between Abu Faraj al-Libbi and bin Laden. In 2005, Faraj denies any knowledge of Abu Ahmed; Maya interprets this denial as an attempt to conceal information.

By 2009, Maya’s colleague Jessica encounters a Jordanian doctor in Afghanistan who offers espionage services to the U.S. for $25 million but is actually a triple agent loyal to al-Qaeda. Jessica and several other CIA officers perish during the Camp Chapman attack—the most severe CIA casualty event in a quarter-century.

Analyst Thomas shares an interrogation session with a detainee who claims he buried Abu Ahmed back in 2001. Maya uncovers that Ibrahim Sayeed used the alias Abu Ahmed al-Kuwaiti during that period. Comparing photographs leads her to suspect that the CIA’s image of Abu Ahmed might actually depict his brother Habeeb—who was killed in Afghanistan—explaining earlier discrepancies.

A Kuwaiti prince exchanges Sayeed’s mother’s phone number with Dan for a Lamborghini Gallardo Bicolore. Utilizing electronic surveillance techniques, Maya’s team tracks a caller employing tradecraft to a sizable compound located in Abbottabad, Pakistan. Following an assault on Maya herself, she is recalled to Washington as her cover is believed compromised.

Although the CIA monitors the compound extensively, definitive proof of bin Laden’s presence remains elusive. The National Security Advisor orders plans for either capturing or killing him. During a meeting with senior officers, bin Laden’s presence at the compound is estimated between 60 and 80 percent; however, Maya asserts absolute certainty at 100 percent.

On May 2, 2011, members of SEAL Team Six and operators from the CIA Special Activities Division are deployed via stealth helicopters operated by the 160th Special Operations Aviation Regiment from Afghanistan into Pakistan to conduct a raid on the compound. The SEALs eliminate multiple individuals inside, including the suspected bin Laden. At a U.S. military base in Jalalabad, Maya verifies the identity of the deceased.

She returns alone aboard a military transport back to the United States, visibly affected when asked about her destination.

Cast

CIA


US Navy


Other


Titles

Initially titled For God and Country during production, the film’s official name Zero Dark Thirty was revealed through its teaser trailer. Director Bigelow explained that this phrase refers to a military designation for the time just before dawn and metaphorically reflects the covert nature of the decade-long operation.

Writing

Kathryn Bigelow and Mark Boal first crafted a script centered around the December 2001 Battle of Tora Bora and the unsuccessful attempts to capture Osama bin Laden. However, following news of bin Laden’s death, they abandoned that screenplay and began developing a new one. Boal mentioned that much of his earlier research and connections within military and intelligence communities were instrumental in shaping this revised script.

The narrative highlights the pivotal yet often overlooked contribution of a young female CIA officer who relentlessly pursued bin Laden. Boal uncovered that women held vital roles within the CIA team, especially one liaison officer who was present during the raid. The character Maya is inspired by a real individual and serves to represent numerous women engaged in intelligence work. In 2014, The New Yorker revealed that Maya’s character was partially based on CIA officer Alfreda Frances Bikowsky.

Filming

A meticulous replica of the Abbottabad compound was constructed in Jordan by the producers, with production designer Jeremy Hindle prioritizing realism, incorporating weathered cinder blocks to prevent a freshly built appearance. Portions of the filming occurred at PEC University of Technology in Chandigarh, India, where sets were transformed to resemble Lahore and Abbottabad, Pakistan—the location where bin Laden was killed on May 2, 2011. Additional scenes were captured in Mani Majra, Chandigarh.

The use of Indian locations to depict Pakistani settings sparked protests from right-wing groups in India. Moreover, a sequence filmed in Gdańsk, Poland, drew local criticism due to its portrayal as a CIA black site.

Peter Bergen, an expert in national security, reviewed an early version and described the torture scenes as "excessive." Screenwriter Boal confirmed that these scenes were subsequently "softened" for the final cut.

Music

The film's score was composed and conducted by Alexandre Desplat, performed by the London Symphony Orchestra. The soundtrack became available through Madison Gate Records on December 19, 2012.

Distribution

In the United States, Columbia Pictures handled distribution. International rights were managed by Panorama Media, the sales division of Annapurna Pictures. Universal Pictures International co-distributed in selected European regions and South Africa. Distribution responsibilities for Australia fell to Icon Film Distribution, while Entertainment One oversaw Canadian distribution.

Marketing

Promotion for Zero Dark Thirty included collaboration with Electronic Arts, which integrated downloadable maps of film locations into its video game Medal of Honor: Warfighter. Additional map packs were released on December 19 to coincide with the film’s premiere. EA pledged to donate one dollar from each map pack sale to organizations supporting military veterans.

Theatrical

The movie had its Los Angeles premiere on December 10, 2012. It opened in limited release on December 19 before expanding nationwide on January 11, 2013.

Home media

Zero Dark Thirty was made available on DVD and Blu-ray Disc via Sony Pictures Home Entertainment on March 26, 2013.

Box office

During its limited release phase, Zero Dark Thirty earned $417,150 across five theaters in the U.S. and Canada. The wide release commenced on January 11. According to Entertainment Weekly, it led the box office during its wide-release weekend with $24.4 million in revenue. The film amassed $95.7 million domestically and $37.1 million internationally, totaling $132.8 million worldwide and topping the box office during its wide-release debut weekend.

Critical response

On Rotten Tomatoes, the film holds a 91% approval rating based on 302 reviews, averaging an 8.6/10 score. The site’s consensus describes it as "gripping, suspenseful, and expertly crafted," offering an intelligent and detailed dramatization of the search for Osama bin Laden. On Metacritic, it earned a score of 95 out of 100 from 46 critics, indicating "universal acclaim" and ranking as the highest-reviewed film of 2012 on that platform. Audience surveys by CinemaScore assigned it an average grade of "A−".

Manohla Dargis of the New York Times selected it as a critics’ pick, noting its candid depiction of war’s harsh realities. Time magazine’s Richard Corliss described it as "an excellent" film and "a large-scale police procedural," surpassing Argo. Critic A. O. Scott placed it sixth in his list of top ten films for 2012.

David Denby from The New Yorker praised the filmmakers’ sophisticated blend of brutality and compassion but remarked on the tension between factual accuracy and dramatic storytelling. Roger Ebert of the Chicago Sun-Times awarded three stars out of four, highlighting Jessica Chastain’s powerful performance and the film’s thorough recounting of events leading up to bin Laden’s death despite a slow narrative start.

Top ten lists

Zero Dark Thirty was a frequent presence on numerous critics' top ten compilations in 2012. According to Metacritic, the film was included on the lists of 95 critics, with 17 naming it their top choice.

In a BBC critics' poll conducted in 2016, the film was placed as the 57th best release since the year 2000.

By the year 2025, it was included in the "Readers' Choice" edition of the The New York Times compilation titled "The 100 Best Movies of the 21st Century," where it ranked number 255.

Accolades

At the 85th Academy Awards, Zero Dark Thirty garnered five nominations: Best Picture, Best Actress, Best Original Screenplay, Best Sound Editing, and Best Film Editing. Paul N. J. Ottosson secured the Oscar for Best Sound Editing in a rare tie with Skyfall—marking only the sixth tie in Academy history and the first since 1994. The film also received four nominations at the 70th Golden Globe Awards, including categories for Best Motion Picture – Drama, Best Director, and Best Screenplay. Jessica Chastain won the Golden Globe for Best Actress – Motion Picture Drama.

Director Kathryn Bigelow earned Best Director honors from the Washington D.C. Area Film Critics Association, becoming only the second woman to achieve this distinction—the first being Bigelow herself for her work on The Hurt Locker. The film dominated several critics' circles awards for Best Director and Best Picture from prominent organizations such as those in Washington D.C., New York Film Critics Online, Chicago, and Boston.

In February of 2020, New York Magazine acknowledged Zero Dark Thirty as one of "The Best Movies That Lost Best Picture at the Oscars."

Historical accuracy

Zero Dark Thirty encountered criticism regarding its portrayal of historical events. Former Assistant Secretary of Defense Graham T. Allison pointed out three primary concerns: exaggeration of torture's effectiveness, minimizing the Obama administration's involvement, and depicting the operation as led by a solitary agent resisting CIA bureaucracy.

Steve Coll took issue with the film’s use of composite characters presented as journalistic fact, particularly highlighting the figure "Ammar," who is suggested to represent Ali Abdul Aziz Ali (also known as Ammar al-Baluchi). The movie inaccurately implied this detainee would remain indefinitely in a black site, although Al-Baluchi was transferred to Guantanamo in 2006 to face a military tribunal.

Critics also condemned the film for clichéd portrayals of Pakistan, including Pakistani characters speaking Arabic instead of local languages such as Urdu, and wearing outdated traditional headwear.

Accusations of political bias

Prior to production, political disputes arose with critics of the Obama Administration alleging that Zero Dark Thirty was strategically scheduled for an October release ahead of the 2012 presidential election to bolster Obama’s re-election campaign. Sony refuted these claims, asserting that the chosen release date was simply optimal for an action thriller. The screenwriter clarified that the president’s character does not appear in the film.

Mindful of political sensitivities, Columbia Pictures contemplated postponing the release until early 2013. The film ultimately saw a limited release on December 19, 2012—after the election—thereby alleviating concerns over political influence. Its wide release was delayed until January 11, 2013, avoiding the congested holiday period and aligning with the Academy Awards season.

Despite its limited debut, debates continued around the depiction of torture and its purported role in intelligence gathering. Nevertheless, commentators like The New York Times columnist Frank Bruni argued that the film did not serve as pro-Obama propaganda. Subsequent analyses praised it as a bold and unsettling portrayal that balanced historical fidelity with dramatic storytelling.

Claims of unauthorized access to classified material

Some Republican figures alleged that the Obama Administration improperly provided director Bigelow and her team with classified information during their research for the film. These allegations, along with other supposed leaks, became prominent points among conservatives during the election cycle. The Republican national convention platform accused Obama of permitting "publicizing the details of the operation to kill the leader of Al Qaeda." However, according to the Navy Times, no proof has emerged confirming such disclosures.

Republican Congressman Peter T. King called for investigations by both the CIA and U.S. Department of Defense into potential unauthorized information sharing; both agencies agreed to conduct reviews. The CIA emphasized that safeguarding national security and ensuring effective counterterrorism efforts guide its interactions with filmmakers and media representatives.

Judicial Watch, a conservative watchdog group, publicized documents obtained through FOIA requests from the CIA and Defense Department alleging "unusual access" granted to filmmakers. However, examinations of these documents revealed no evidence of classified leaks or direct White House involvement. The filmmakers maintained they did not receive classified details about Osama bin Laden’s death. In 2012, Judicial Watch reported that the Obama Administration acknowledged some information shared with production staff could present an "unnecessary security and counterintelligence risk" if made public. Emails containing details about five CIA and military personnel involved in the Bin Laden mission were provided to filmmakers, as confirmed by officials.

In January 2013, Reuters disclosed that the Senate Select Committee on Intelligence planned to review CIA interactions with filmmakers to determine whether any improper access occurred; by February, this investigation was discontinued.

In June 2013, an unreleased Inspector General report from the Defense Department revealed that in June 2011, CIA Director Leon Panetta disclosed "Secret" and "Top Secret" information at a CIA ceremony honoring those involved in the Bin Laden raid. During this event, he identified both the unit responsible for the operation and its ground commander, inadvertently revealing classified Department of Defense information. Screenwriter Mark Boal was among roughly 1,300 attendees present at this occasion.

Claims of endorsing torture

The movie has sparked both condemnation and acclaim for its portrayal of severe "enhanced interrogation techniques", often recognized as torture. These methods were concealed for years by the Bush administration. Glenn Greenwald, writing for The Guardian, accused the film of adopting a pro-torture perspective, labeling it "dangerous propaganda" that frames torture as a regrettable but necessary measure to safeguard the United States.[1] Critic Frank Bruni interpreted the film as suggesting "No waterboarding, no Bin Laden".[2] Jesse David Fox pointed out that while the movie does not explicitly claim torture led to bin Laden’s capture, it can be inferred as such.Cite error: The opening <ref> tag is malformed or has a bad name Emily Bazelon noted that although the filmmakers did not intend to defend torture, they might be in denial about implicitly endorsing it.Cite error: The opening <ref> tag is malformed or has a bad name

Journalist Michael Wolff reproached both the film and director Bigelow for historical distortion favoring torture, disputing the claim that it was effective in locating bin Laden.[3] Social commentator Naomi Wolf compared Bigelow to Nazi-era propagandist Leni Riefenstahl, accusing her of sacrificing artistic integrity to secure Pentagon backing.[4] Author Karen J. Greenberg described the film as "an ideal propaganda piece" that embraces cruelty and fear.[5] Peter Maass from The Atlantic characterized it as a troubling example of filmmaking influenced by government interests.Cite error: The opening <ref> tag is malformed or has a bad name

Jane Mayer of The New Yorker criticized Bigelow for exploiting the U.S. torture program for dramatic effect while avoiding ethical scrutiny, implying acceptance of CIA assertions about enhanced interrogation’s role in identifying bin Laden’s courier.[6]

Author Greg Mitchell remarked that the film confuses torture’s involvement but leaves most viewers believing it played a pivotal role.Cite error: The opening <ref> tag is malformed or has a bad name Filmmaker Alex Gibney applauded its cinematic qualities but condemned its inaccurate depiction of torture’s effectiveness, highlighting the omission of how frequently torture produced false leads.Cite error: The opening <ref> tag is malformed or has a bad name

Philosopher Slavoj Žižek contended that by presenting torture in a neutral manner rather than outright condemning it, the film effectively normalizes and implicitly endorses it.[7]

Journalist Steve Coll criticized the filmmakers’ claim of journalistic rigor while invoking artistic license, calling this a cover for inadequate reporting on torture’s actual impact.[8]

U.S. Senator John McCain, himself a former victim of torture, denounced the film as erroneous and misleading regarding enhanced interrogation providing critical intelligence. Alongside Senators Dianne Feinstein and Carl Levin, he sent a letter to Sony Pictures demanding accuracy about torture’s effectiveness.Cite error: The opening <ref> tag is malformed or has a bad nameCite error: The opening <ref> tag is malformed or has a bad name

CIA acting director Michael Morell publicly stated that the film takes extensive creative liberties and falsely suggests enhanced interrogation was instrumental in finding bin Laden. He underscored that multiple intelligence sources contributed and emphasized ongoing debate over interrogation efficacy.Cite error: The opening <ref> tag is malformed or has a bad name

The Huffington Post columnist G. Roger Denson defended the film by referencing government officials like Leon Panetta who acknowledged waterboarding helped obtain vital information leading to bin Laden.[9]

Human Rights Watch condemned the movie for inaccurately implying torture aided in locating bin Laden and called for Senate report declassification to combat misinformation. Former HRW deputy Laura Pitter criticized CIA chief Jose Rodriguez’s defense of the program and highlighted government attempts to obscure past abuses as fueling controversy surrounding the film.Cite error: The opening <ref> tag is malformed or has a bad nameCite error: The opening <ref> tag is malformed or has a bad name

National security journalist Spencer Ackerman described the film as portraying torture as an ignorant fallback rather than an effective solution.Cite error: The opening <ref> tag is malformed or has a bad name Critic Glenn Kenny observed that the movie implicates audiences in complicity without explicitly endorsing brutality.Cite error: The opening <ref> tag is malformed or has a bad name Writer Andrew Sullivan characterized it as revealing torture rather than excusing it.Cite error: The opening <ref> tag is malformed or has a bad name Filmmaker Michael Moore stated it powerfully denounces torture by depicting its harsh realities.Cite error: The opening <ref> tag is malformed or has a bad name Critic Andrew O'Hehir found the filmmaker's position ambiguous but acknowledged the film raises significant ethical issues.Cite error: The opening <ref> tag is malformed or has a bad name

Screenwriter Boal dismissed accusations of promoting torture as "absurd" and denied depicting it as directly leading to bin Laden; director Bigelow expressed regret over torture’s historical presence but affirmed its factual occurrence.Cite error: The opening <ref> tag is malformed or has a bad name In 2013, Boal suggested senators leveraged the film politically amid ongoing debates over interrogation methods.Cite error: The opening <ref> tag is malformed or has a bad name

In an interview with Time, Bigelow affirmed her support for the film as a profoundly moral work questioning the use of force in capturing bin Laden.Cite error: The opening <ref> tag is malformed or has a bad name

Concerns Regarding Use of 9/11 Victims' Recordings

The film opens with a lengthy excerpt from a phone conversation involving Betty Ong, a flight attendant aboard one of the hijacked American Airlines flights, presented without credit. Ong’s relatives demanded an apology during the Academy Awards if the movie received any honors, alongside a charitable contribution made in her memory and a public statement disavowing the film’s portrayal of torture. These appeals were met with no response from either the filmmakers or the U.S. distributors.

Mary and Frank Fetchet, whose son Brad Fetchet worked on the 89th floor of the South Tower of the World Trade Center, voiced objections to the filmmakers’ use of their son’s voicemail recording without authorization. This particular audio had been previously utilized in news broadcasts and testimony before the 9/11 Commission.

See also

Further reading

External links

  1. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named autogenerated3
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  7. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named zizek
  8. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named coll
  9. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named Denson, G. Roger
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