Article
Creed
Egypt
Film & TV
Freedom of Belief
1 min read

The 21: wrestling truth from a story of horror

Remembering the Coptic Martyrs a decade on.
An graphic image shows 21 men in orange suits kneeling in front of executioners in black.
MORE Productions.

In 2015, 21 men were kidnapped, tortured, and eventually killed by ISIS. Twenty of those men were Coptic (Egyptian) and one, Matthew, was Ghanian. They were all Christians. And that is why they were killed.  

Over the past decade, the story of their martyrdom has been widely told. And yet, the only piece of visual storytelling that existed was the propaganda video, filmed and released by ISIS. A film that was intended to scare the world and dehumanize the men, a film that glorified violence and hatred.  

We’ve known the story of the men’s execution, but we’ve only known it as told by their executioners.  

That’s no longer the case. On 15 February 2025, ten years since their death, the story of the 21 is being re-told by a team of over seventy artists from 24 countries, directed by Tod Polson, and in collaboration with the global Coptic community. The short film, The 21, will premiere on the anniversary of the men’s death and be featured at film festivals throughout 2025.  

We knew a story, now we’re hearing their story. 

I was able to talk through the details, how and why this short-film was made, with one of its producers – Mandi Hart of MORE Productions. After watching the film a handful of times, and needing ten minutes to recover after every viewing, I had lots to ask Mandi. Firstly, I wanted to know all about the visual aesthetic.   

This film is animated, which feels like both a defiance and a kindness. It’s a defiant choice because it ensures that this film stands in contrast to the film that was released ten years ago, where pure terror was the only story-telling objective. Nothing about this film is reminiscent of that one. And that’s a kindness to us, the audience. We’re not totally spared, however, as carefully selected moments of the original footage are woven into this short film, reminding us that these men – the ones who were killed and the ones who did the killing - were as real as you and I. But, on the whole, we’re spared the worst of the horror. As Mandi noted,  

‘animation allows your imagination to fill in the gaps. It’s just as powerful a form of story-telling, if not more so’.    

Mandi’s right. This film will stop you in your tracks. More than anything, though, the visual aesthetic is an ode to the men who were lost and the community they belong to.  

Director, Tod Polson, travelled to Egypt to meet with Coptic iconographers and learn about the intricate ways they communicate in symbolism, iconography and art. Mandi told me that even details as subtle as the width of a line used or the placement of the eyes on a human face have deep wells of meaning held within them. Polson also visited Minya, the Egyptian region that was home to many of the martyrs, and gathered inspiration from the church that was built there in their honour. The film’s aesthetic derives from all of this, it’s drawn in alignment with what Polson learnt. In other words, the story is told in the language of the martyrs. Through the work of the seventy plus artists, this story is weaved into the story – the Coptic story, the Christian story. It’s rooted and yet timeless, a decade old and yet ancient.  

For the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin.

The film is a masterclass in learning the language of the ones to whom you’re paying tribute. The artists have honoured the martyrs on their own terms and according to their own story. It’s a special thing.  

It’s also a challenging thing. It’s a harrowing event, after all. It feels as though, through this film, we’re brought closer to the torture the men endured, given details that the mainstream media left unreported. Details such as, the floor they were forced to sleep on was continuously pumped with water, the relentless taunting and manual labour, the beatings, the fact that they were actually put in orange boiler suits, taken to the beach, and filmed three times. It was on the third time that they didn’t return.  

40 days, that’s how long the twenty-one were held for.   

960 hours.  

57,600 minutes. 

3,456,000 seconds.  

The longevity and intensity of the torture is nearly impossible to fathom. The fear they must have felt is mostly unimaginable. Mandi mentioned that she was probed by a continual set of questions as she studied this story, these men, and those days. The questions went along the lines of: what would she be willing to die for? Would she be brave enough to stand her ground? Would she be faithful to what she believes to be true? Would she choose a life without Jesus or a death because of him? It’s a hypothetical set of questions for Mandi, and for me too. But not for the 21 men.  

Finally, I wanted to ask Mandi about the inclusion of supernatural facets of the story – the improvable, un-fact-check-able stuff. If I was to be brave, I guess I would say the truest stuff. The way the heavens seem to open, rage, and weep; the subtle appearances of Jesus’s scarred and bloody feet; the mention of a prayer-fuelled earthquake in the prison; the glimpses of a supernatural army guarding the 21 men as they walked to their death. It’s quite weep-worthy, really. The closer these men get to their execution, the brighter and more vivid the ‘unseen’ becomes. 

Yet, it feels like quite a brave storytelling choice, to meld the provable with the improvable facts of the story.  

 ‘Only to us’, Mandi reminded me. ‘we, the cultural West, struggle with the supernatural stuff. It’s an affront to the ‘rational’. But we’re the minority. The majority, who have less cultural power, they don’t struggle with this stuff at all... ’ 

 This led us to speak about the seen and the unseen elements of reality, how – as Christians – we believe that all that we see is not all that there is. In fact, the things that cannot be seen are the realest things. And how, for the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin. It’s comfort that often makes the veil thicken out, Mandi reminded me, it’s the left hemisphere of our brains that tells us that all that we see is all that there is. When our safety and comfort are stripped away, what happens? For the twenty-one martyrs, it seems as though the veil became thread bare. As Mandi quite remarkably noted, ‘the human soul knows more than the mind is comfortable admitting’.  

The 21 is a short film about death, the death of 21 innocent men. It’s important that we give these men our attention, look them in the eye and weep with those who weep. But I think, in a way, this short film also tells the story of life. Life after death, life that death doesn’t put an end to. Life that confounds death, even. And in that way, this film tells both a particular story and a universal one, both their story and the story – the Christian story.    

Watch the trailer

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief

Article
Comment
Grenfell disaster
Trauma
6 min read

Grenfell: how long should we remember?

There are good and bad ways of remembering.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A white building wrap around a tower is topped by a green heart and the slogan: Grenfell Always In Our Heaets.
Grenfell Tower, Summer 2024.
Rc1959, CC0, via Wikimedia Commons.

For nearly eight years now, Grenfell Tower has remained standing as a reminder of one of the most painful days in recent British history. The news that the government intends to dismantle the remains of the Tower has split local opinion. Some of the bereaved and survivors suggest that the government has scarcely consulted them. For many, the building is a tomb, still containing the memory, if not the actual remains of their loved ones whose bodies could not be recovered. They understandably fear them being forgotten when the building no longer stands as a reminder. Last year I sat in on a gathering where bereaved families and survivors of the fire told their stories in the hearing of representatives of the companies who were responsible for the cladding which caused the fire to spread. The memories and emotions are still raw and unhealed.  

On the other hand, many local residents would like it taken away, as its constant, looming presence is a painful reminder of that dark night. They also see the logic in bringing down a fatally damaged and increasingly dangerous structure that costs the taxpayer millions each year to keep from collapsing under its own weight.  

The key issue at the heart of this debate is how we remember - especially, how we remember pain. In the rhetoric around Grenfell, as with many other tragedies, we often hear calls to ‘always remember’ and that we must ‘never forget’ the wrongs done which caused the deaths of those 72 people. The Grenfell Memorial Commission, which was charged with thinking about what memorial should stand on the site of the building in future, claimed as its aim to “make sure the Grenfell tragedy can never be forgotten.” 

Such calls to ‘never forget’ are powerful. They seem a proper tribute to those who died, they ensure that those culpable are not let off too easily, and that justice is properly done. To blithely forget such horrendous evils seems an affront to justice, and a morally culpable act. 

Yet must we always remember the hurts and pains of the past? Can we imagine a future where such memories fade into the distance and no longer cast their painful shadow over our lives?  

Whether and when Grenfell Tower comes down, is yet to be determined. Yet only when we keep in mind the destination of the journey of healing can we make good decisions...

Theologian Miroslav Volf asks all these questions in his book The End of Memory. He describes good and bad ways of remembering. We can remember to cherish the dead, to learn lessons for the future, to ensure justice is done. Yet we can also remember to nurse grievances, to cling onto grudges, to imagine horrible pain inflicted on those who wronged us. Memories of wrongs done to us can imprison and define us purely as victims, never in control, always subject to the actions for others, with no agency of our own. 

Volf’s Christian faith tells him that the human race is beckoned towards a new world, in the full presence of God, of what he calls ‘final reconciliation’. It is a place where we will be captivated by a vision of the beauty and goodness of God, a vision that we only dimly glimpse in this world. He asks the question: in such a world, will we remember all the wrongs done to us? Can we imagine still clinging onto the memory of the sins and crimes that others inflicted on us? Even if that were in principle possible, would we remember all the harm done to us? And the harm we did to others? If not, which sins would we remember? Which ones would we forget? Would not such memories blight the joy that such a world would surely offer? 

Reflecting on his own youthful and painful memories of interrogation in communist Yugoslavia, and other tragedies such as the 9/11attacks, Volf imagines getting to the point where we don't forget the terrible things that others have done to us, but when we actively don't remember them. They still occupy a place in our minds but are instead relegated to a corner of our consciousness, under our control, no longer rearing their ugly and painful heads when triggered by other events. Such an ability not to remember, he suggests, is a good thing: 

 "Non-remembrance of wrongs suffered is the gift God will give to those who have been wronged."  

At the same time, Volf is careful not to imagine getting to this point too easily. Wrongdoers cannot for a moment insist that those they have wronged forget their misdeeds. Such non-remembrance can only happen when truth has been told, sins punished, and justice done. Yet when all that has taken place, that ‘final reconciliation’, Volf imagines, might even embrace the unimaginable - an ultimate reconciliation between the wronged and the wrongdoers.  

Is it possible to imagine children whose parents were killed because of the negligence and culpable cheating of contractors who knowingly put unsafe cladding on Grenfell Tower, ever being reconciled to and even embracing the perpetrators? Volf suggests we can, while recognising that this can only happen when the crime has been identified, fully recognised, repented of profoundly, forgiveness offered and accepted and the appropriate penalty paid.  

While such a process remains incomplete, the obligation to remember remains, and reconciliation cannot yet take place. But true healing from such hurts is not to be forever dominated by them, defined by them, or to live in constant enmity and resentment because of them. It is, instead, to gain the strength and ability not to remember them, not to be defined by them, and even - possibly, perhaps - to find reconciliation with their perpetrators. 

The Grenfell Public Inquiry that reported last year was an important step for the bereaved and survivors. It was not the end of the journey. Far from it. The process of enacting justice through prosecution of the guilty lies ahead. But as an exercise in truth-telling, in giving perpetrators the opportunity to own up and confess their guilt, in a truthful recognition of what went wrong, it was a vital step towards the possibility of reaching that stage when the memory of Grenfell no longer defines its victims. It opens up the possibility at some point in the future, where they might be in control of their memories rather than their memories controlling them. 

The Danish Christian philosopher Søren Kierkegaard once wrote that we humans need to learn both “the art of forgetting” and “the art of remembering”. To know when and how to do one and when to do the other is the gift of God and an art of true wisdom. 

Whether and when Grenfell Tower comes down, is yet to be determined. Yet only when we keep in mind the destination of the journey of healing can we make good decisions about such fraught and emotionally charged issues. The Tower cannot remain as it is - everyone acknowledges that . Yet it's hard for many to think about its disappearance without knowing what will replace it. Which is why plans to demolish the Tower must go hand in hand with the plans for the lasting Memorial that will stand on the site. Yet that can only happen if it serves the goal of being able truthfully to remember no longer the pain and injustice of the past.  

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief