For years, Disney and National Geographic have collaborated to produce compelling documentaries that educate and entertain audiences worldwide. Their 2022 release, Retrograde, explored the final months of the United States’ 20-year involvement in Afghanistan, offering an intimate look at the chaos surrounding the U.S. military’s withdrawal and the impact it had on the Afghan people.
While the documentary was lauded for its harrowing portrayal of these events, its consequences have now come into question.
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The tragic death of 21-year-old Afghan man Omar has raised serious allegations against Disney, as his widow files a lawsuit against the company, claiming that Retrograde directly led to his death.
Omar, a former minesweeper who worked alongside U.S. forces in Afghanistan, was featured in the documentary, which chronicled the challenges faced by Afghan nationals who aided U.S. troops during the war.
His family is now accusing Disney and National Geographic of negligence, claiming that Omar’s inclusion in the film put him in grave danger. This lawsuit has sparked heated discussions about the ethical responsibilities of filmmakers, especially when it comes to protecting vulnerable individuals in conflict zones.
The Documentary and Its Aftermath
Retrograde captured the U.S. military’s final missions in Afghanistan, highlighting the frantic efforts to evacuate U.S. personnel and allies as the Taliban began reclaiming control of the country. Among the Afghan nationals featured in the documentary was Omar, who helped protect U.S. Special Forces in the area. Omar’s role was clearly depicted in the film, but what followed was a nightmare for him and his family.
According to documents reviewed by The Hollywood Reporter, Omar’s family claims that the Taliban saw his face in the documentary and used it to track him down. The film’s close-up shots of Omar, especially one where he expressed concern about being hunted after the U.S. withdrawal, allegedly provided the Taliban with the information they needed to identify and capture him.
Omar was reportedly taken from his home blindfolded and held captive for two weeks before his body was discovered. He had been severely beaten, nearly drowned, and left unconscious.
Taliban forces tracked down Omar from a scene in Retrograde, Matthew Heineman’s acclaimed 2022 documentary providing an on-the-ground look at the U.S.’ withdrawal from Afghanistan a year earlier. In a close-up, the camera pans to him as another member of the National Mine Reduction Group, or NMRG, voices concerns of being hunted when he returns to civilian life. A clip from that segment of the documentary later spread like wildfire on TikTok in Afghanistan.
They “showed me Retrograde movie and said you have worked with foreign forces and also worked in the movie,” Omar said, according to the transcript prepared by a former Special Forces Interpreter for the 1208 Foundation, an organization that evacuates Afghans who cleared mines for U.S. forces in the region. “They found me through Retrograde movie and are still asking of me from villagers and my family members.”
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Omar’s Suffering and Death
After his capture, Omar’s family hoped for his safe return, but the suffering he endured was too great. Omar was eventually moved to Pakistan, where doctors revealed the extent of his injuries: several broken ribs, severe internal damage, and lungs that were no longer functioning properly.
Multiple surgeries were performed, but in the end, they were not enough. The 25-year-old died in April 2023, leaving behind a wife and child. His family was later extracted from Afghanistan for fears of further retribution, and they are now living safely in another country.
In response to Omar’s tragic death, his widow has filed a lawsuit against both Disney and National Geographic, accusing the companies of negligence. The lawsuit claims that by showing Omar’s face in the documentary, the companies acted irresponsibly and put him at risk.
Omar’s family argues that the filmmakers failed to follow proper protocols for protecting individuals in war zones, including obtaining written consent from Omar to appear in the film.
The lawsuit also accuses Disney and National Geographic of engaging in deceptive business practices, claiming that they failed to take appropriate steps to ensure the safety of the people featured in the documentary. The family argues that, given the risks posed by the Taliban, the companies should have blurred Omar’s face to protect his identity, especially since they were aware of the dangers he faced.
The Response from Disney and National Geographic
In response to the allegations, Disney has yet to comment on the pending litigation. However, Retrograde producer Caitlin McNally did release a statement defending the documentary’s release.
“The U.S. government’s precipitous withdrawal from Afghanistan and the vengeful actions of the Taliban upon taking power — armed with detailed information identifying Afghans who worked with the U.S. government — led to the deaths of countless partners left behind. That is the tragic story that warrants attention. But any attempt to blame ‘Retrograde’ because the film showed faces of individuals in war zones — as has long been standard in ethical conflict reporting — would be deeply wrong.”
McNally also emphasized that the film was approved by the U.S. military and that the purpose of the film was to highlight the tragic consequences of the U.S. withdrawal from Afghanistan.
Despite McNally’s defense, veterans who worked to extract Omar’s family have disputed the claim, arguing that they had warned Disney and National Geographic about the dangers of showing Omar’s face. They assert that the filmmakers ignored these warnings, which led to what they call a “Taliban hit list” targeting Omar and other Afghan nationals who aided U.S. forces.
As the lawsuit progresses, it will likely spark further debate about the ethical responsibilities of documentary filmmakers and the risks they impose on the people they depict. It is clear that Disney and National Geographic have found themselves at the center of a larger conversation about the line between storytelling and the safety of those involved in the story.
This lawsuit brings to light serious concerns about the intersection of filmmaking, ethics, and safety. Should Disney and National Geographic have taken more precautions to protect Omar and others featured in Retrograde? How can filmmakers balance the need for powerful storytelling with the responsibility to protect vulnerable individuals? Share your thoughts with us in the comments below.
