als ich mir am wochenende die alkaida-klamotte 'four lions' anschaute, haette ich nicht gedacht, dass der film-tod von osama bin laden so schnell wirklichkeit werden wuerde. neben diesen seherischen faehigkeiten fand ich 'four lions' vor allem wegen dem kontrast zwischen heftigstem slapstick und den ernsten handlungskonsequenzen seiner selbstmordattentaeter-protagonisten interessant. spass, der im ende zu schrecklichem ernst wird, ist ja auch eines der hauptmotive von so gelungenen polit-tragikomoedien wie radu mihaileanu 'zug des lebens' oder dani levys 'mein fuehrer'. eine aehnliche intention hatte wohl auch 'four lions'-regisseur chris morris, wie aus einem zum uk-filmstart im guardian veroffentlichten artikel hervorgeht:

Two men sit shoulder-to-shoulder against a bright white wall. They are young and cheerful, at ease in each other's company. They clown around, try a hat on for size and direct dopey grins at the camera. The prevailing mood is one of jollity, and yet what we are witnessing are the rushes from a martyrdom video, shot at Osama bin Laden's farmhouse in January 2000. The man on the right is Mohamed Atta, ringleader of the 11 September hijackers. His buddy on the left is Ziad Jarrah, who piloted the United 93 flight that came down in a Pennsylvania cornfield, killing everyone on board.
Fast-forward a decade. Chris Morris and I are sitting shoulder-to-shoulder in a London production office, staring at the screen of a scuffed white laptop. "It doesn't conform to type, does it?" Morris says. "These aren't cold, reptilian killers. They're dicking about with a hat; they're pissing themselves laughing. What's interesting is to look at this footage and think, 'But they still did it.' They acted like this, and then they still went and did it. And if you keep going with that line of thought, you might get somewhere and come out the other side." He shrugs. "Or maybe you just get lost and go completely mad."