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

The 21: wrestling truth from a story of horror

Remembering the Coptic Martyrs a decade on.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

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

Essay
Comment
Community
Nationalism
7 min read

I was angry and you called me Gammon: Gary from Blackpool, Charlie Kirk, and all these flags

A triptych of three faces of wrath poorly heard and poorly expressed

John is a Salvation Army officer and theologian,

Marchers carry British, English and Israeli flags
Unite the Kingdom marchers.
Met Police.

William Blake once warned: 

I was angry with my friend; 
I told my wrath, my wrath did end. 
I was angry with my foe: 
I told it not, my wrath did grow. 

Blake understood that unspoken—and, more precisely, unheard—wrath does not wither. Left untended, it grows. Its bitter roots tentacle around grievance; neglect waters it, and violence ripens as its fruit. Much like Blake’s tree, the wrath spreading through towns in this nation, and beyond, springs from seeds of anger. It is not irrational. It is cultivated in betrayal, frustration, and systemic disregard. 

This essay is a triptych. Three panels, three faces of wrath poorly heard and poorly expressed. In England, it riots in the streets and hangs from lamp posts. In America, it narrows into bullets. These are not isolated curiosities but variations on the same Western fracture — anger left unheard, curdling until it explodes. 

Wrath, of course, is not the same as anger. Anger is a natural passion, a flare of the soul in the face of injury or injustice. It can be righteous when governed by love, as even Christ was angry at hardened hearts. Wrath, by contrast, is anger left to harden — anger unspoken, unheard, or indulged until it festers into a vice. Scripture names it as both the fire of God’s judgement and, in humanity, a deadly sin. Wrath is anger that has ceased to heal and has become scar tissue. 

Panel I: Gary from Blackpool 

Enter “Gary from Blackpool”. 

He was a London commentator’s caricature of provincial ignorance—“1 GCSE, two brain cells, and three teeth.” 

A screenshot of a tweet.

The tweet was deleted, but not before the sneer had spread. Gary was a meme. He doesn’t exist, and yet he does; there are loads of “Garys” in Blackpool. 

And Gary is angry. 

His wrath first erupted in St John’s Square in the summer of 2024. When he raised a St George’s flag on a roundabout, it was not swaggering nationalism but a pathetic attempt to claim a place in a nation that no longer cares about people like him. 

Blackpool’s collapse has been much-storied: once thriving, now one of the most deprived. Reports and documentaries measure poverty, chart prospects, and speculate on futures. The town is endlessly narrated. 

Gary is not. 

Yet his story mirrors that oft-told collapse. Poverty has scarred him visibly: the teeth, failing health. Gary’s life expectancy: 69, more than a decade shorter than elsewhere. He’s scarred invisibly too, in narrowed hopes and disillusion. These are not individual failings but markers of systemic neglect: underfunded schools, crumbling services, an NHS that doesn’t reach him. Dentist appointments in Blackpool are rarer than hens’ teeth, which are in better condition than Gary’s. 

The England Gary remembers is gone. In its place stands a society he no longer recognises: multicultural, politically sensitive, shifting away from its past. A Daily Mail headline once told him, “Garys are heading for extinction” while Muhammad, in all its spelling variants, had become the most common baby name

And then the boats. Images looping on his screen: more change he cannot control. His Brexit vote promised to take back control; his refusal to vote ever again, a gesture of resignation. 

Because they don’t care about him. They hadn’t even cared for the girls. Now he saw the same system ushering them into clinics to become boys. 

Gary and those like him, through their anger, reveal a politics that has abandoned them, economics that offer no hope, and a culture that makes them strangers in their own country. Rioting is no cure; it tears open wounds without healing. But the response is illuminating: in 2011, they prompted soul-searching; in 2024 and 2025, they brought only ridicule. The tweet exposed a national reflex: to mock rather than listen. That sharpened the bitterness. 

Wrath here does not whisper or wait. It riots. 

 

Panel II: Charlie Kirk 

Gary may never have heard of Charlie Kirk, but Kirk’s rhetoric channelled the very anxieties that defined Gary’s world—about loss, displacement, and neglect. This resonance helps explain how his voice travelled so widely. 

I didn’t watch Charlie Kirk either. His reels surfaced on Instagram or YouTube now and then, but it wasn’t my algorithm that latched onto him. It was my four nephews’—aged sixteen to twenty-two, two in Kent, two in New Zealand—imagination he captured, even if not always their agreement. Young men across the globe, caught in the fast cadence of an American voice. 

When I saw the news, my reaction surprised me. It was strangely visceral for someone who had never featured in my life in the way he had theirs. I felt sick. Because he was dead. Because he wasn’t a politician behind glass or a general behind medals. He was public, certainly, but also strangely normal. And he had children, both younger than my youngest, and a wife. 

And he had the guts to speak to people. Theo Von said he “tweeted with his feet.” How many of us can say we say what we believe as vociferously face to face as we might be brave enough to do on social media? He was visible. Accessible. Flesh and blood with people, not just pixels. I think this is partly why he appealed to my nephews. I’ve seen Facebook friends of their generation posting tributes, then engaging courteously and constructively with those who insisted on quoting Kirk out of context. For them, defending him has not been rage but dialogue. 

And then the gun. 

Charlie’s killer pulled a trigger. Wrath had narrowed into single, precise bullets with slogans on them. But this was not justice, not even protest. It was wrath corrupted into murder; an execution. 

Wrath here does not riot. It narrows into bullets. It turns cannibal. 

What will this spilt blood birth in those who listened, watched, believed? 

 

Panel III: Flags in Hartlepool and Horden 

And here, in England, it is the flags. 

In America, flags are furniture. They’re on every porch, every school, every stadium. But in Hartlepool and Horden, when flags multiply on streetlights, and red crosses are painted onto white roundabouts, they do not feel ordinary. They are a display of patriotism that feels out of character here. They feel ominous. 

They do not shout; they whisper. Every day. A slow, stubborn signal of belonging and defiance. Not the riot of Gary. Not the bullet for Charlie. But something quieter, somehow more enduring. Wrath sewn into fabric, taking root in silence as surely as Blake’s tree, its persistence echoing Gary’s resentment, its quiet endurance unsettling in a way different from the bullets that struck Charlie. When they thicken in certain places, when they layer and cluster, they become atmosphere. 

A Union Jack flag on a lamppost.

Union Flags made it onto some streetlights I walk past with my daughter in Newcastle, on the way to the swimming pool. “What do they mean?” she asked. For some, pride. For others, threat. For most, perhaps nothing at all. And then they were torn down, leaving a frayed seam, a dangling strip of tattered cloth still tied to the upright metal. That felt even more ominous. Not simply a sign of division, but of reaction. And do you notice, where they are hung only as high as a ladder will reach, they look almost like flags at half-mast? As if beneath the defiance there lingers a subconscious grief. 

And so the question lingers: what will come of it all? What future is being staked out? Are these new buds on Blake’s poisonous tree? 

Some flags are celebrated, raised over civic buildings as sacraments of a new national creed. 

Other flags are torn down, left to fray on lamp-posts, almost threatening in their persistence. 

Wrath here does not riot or narrow. It takes root. 

This is England, isn’t it? 

 

A benediction: I was angry 

And how might anger, left unheard before it hardens into wrath, speak with the voice of Christ? 

I was angry, and you called me gammon. 
I was angry, and you called me woke. 
I was angry, and you heard only your politics, 
not my pain. 
 
I was angry, and you argued about tribes and sides. 
I was angry, and you measured me as vote, as threat, as cause. 
I was angry, and you did not really listen to me. 
 
Truly I tell you: 
when you saw the angry and called them only left or right, 
you understood nothing. 
You did not know me. 
 
And these will go away still unheard, 
their wrath growing strong in the shadows, waiting to erupt. 
 
But those who bore the anger of the poorly heard, 
who listened without contempt or fear, 
This too is England. I am found there. 

 

This article was first published on John Clifton’s SubStack. It is reproduced by kind permission of the author.

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief