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The resulting film alternates between scenes of Osama and scenes of the boys, most of whom are under the age of ten and already being trained in the ways of jihad. These latter sequences are by far the more unsettling, as the kids blindly accept whatever they’re told, even bringing a youthful enthusiasm to their indoctrination.

The resulting document of his period filming Abu Osama and his family feels like a movie his subjects could watch without feeling exploited. A lack of overt authorial intervention or challenging of his subjects’ beliefs, of course, doesn’t mean there isn’t critique laced throughout.

It’s ultimately more impressive for its access than it is revealing of drives or beliefs. If Derki’s goal was to capture what causes ideology to spread, he and his camera look without seeing.

This is an extremely accomplished and upsetting documentary that, in a better world, would not need to exist. . . . Derki's film is an amazing feat of staying calm in circumstances where I personally would be just praying to survive, let alone having the fortitude to think about framing — the distance between the camera and a gun/mine is often alarmingly close, and even though the director was there and obviously intact to introduce the film, it'll make you sweat.

An admirably audacious feat of documentarian access, Of Fathers and Sons is of obvious topical and anthropological interest as a glimpse into the gradual radicalization of young males and the deep community ties which underpin the process. While unambiguously disapproving in its overall tone . . . , it commendably avoids presenting Abu Osama as a two-dimensional fanatic, instead intelligently probing the roots of his anger and passionate involvement in armed struggle.