‘Hell’s Army’ Director on the Rise of Russian Mercenary Legion the Wagner Group, and a Warning for the U.S.: ‘This Darkness Is Coming Everywhere’ 

In an era increasingly defined by geopolitical volatility and the erosion of established norms, Oscar-nominated director Richard Rowley, known for his impactful documentary “Dirty Wars,” presents a searing new film that transcends the confines of a single conflict to deliver a potent warning about the state of global democracy. His latest work, “Hell’s Army,” which made its world premiere at the prestigious CPH:DOX festival, initially began as an investigation into the infamous Russian state-funded private mercenary faction, The Wagner Group. However, as Rowley delved deeper into the shadowy world of these for-hire legions, he unearthed a far more unsettling truth: the rapid proliferation of such lawless and unpredictable forces is a direct symptom of the crumbling foundations of modern democracy itself, signaling a dangerous and rapidly expanding global phenomenon.

“Hell’s Army” plunges audiences into the perilous journey of Katya Hakim, a fearless dissident Russian journalist, as she relentlessly pursues the elusive founder of The Wagner Group, Yevgeny Prigozhin, across multiple continents. From the war-torn landscapes of Ukraine to the strategic battlegrounds of Syria and the resource-rich territories of the Central African Republic, Hakim’s quest is fraught with immense danger. Operating from the shadows, she navigates a world where her name graces deadly lists, and the grim reality of her profession is underscored by the tragic fates of several colleagues, who have been either killed or severely harmed at the hands of the very mercenaries she seeks to expose. Her story is a testament to the profound courage and unwavering commitment required to report truth in the face of brutal authoritarianism.

Ahead of the Danish festival, Rowley shared insights into the genesis of his research, recounting his initial outreach to veteran journalist Denis Korotkov. “You can’t make a film about Wagner without talking to Denis,” Rowley stated, underscoring Korotkov’s unparalleled expertise. “He’s the man who exposed them in print for the first time and developed a network of contacts inside the organization that no one else has.” Korotkov, a figure of immense importance in Russian investigative journalism, became a crucial conduit for Rowley, connecting him with his dedicated team at The Dossier Center.

The Dossier Center, established in 2017 by Mikhail Khodorkovsky—a prominent Russian civil activist and former political prisoner—is a beacon of independent investigative journalism. It stands as a vital counterpoint to the pervasive state control over information in Russia, dedicated to uncovering corruption, money laundering, and international political interference linked to Russian authorities. This organization’s commitment to truth, often at great personal risk to its members, provides an essential layer of forensic depth to the film’s narrative. Through this collaboration, Rowley gained access to a vast repository of meticulously gathered intelligence and a network of courageous individuals committed to shedding light on the Kremlin’s clandestine operations.

It was through this powerful network that Rowley first encountered Katya Hakim, whose extraordinary dedication and tenacity immediately struck him. “It became clear,” the filmmaker recalled, that Hakim would be “an amazing protagonist.” He described her with an admiration that speaks volumes of her character: “She’s intense and a great investigator. She is focused to the point of obsession and courageous to the point of recklessness.” Hakim embodies the spirit of defiant journalism, her relentless pursuit of truth serving as the beating heart of “Hell’s Army.” Her personal stakes and unwavering resolve transform the documentary from a mere exposé into a deeply human story of resistance.

The combined strength of this formidable triad—Hakim’s intrepid on-the-ground reporting, Korotkov’s unparalleled inside access and extensive network, and The Dossier Center’s anonymous team with their advanced capabilities in hacking and obtaining critical documents and intelligence from across the globe—provided Rowley with an unprecedented lens into the Wagner Group’s operations. This unique synergy allowed the film to achieve both a sweeping global scope, meticulously mapping Wagner’s pervasive influence, and an intimate narrative depth, following Hakim through the relentless chaos and violence inherent in reporting from conflict zones. It’s a holistic approach to investigative filmmaking that few have managed to achieve, blending high-stakes espionage with deeply personal storytelling.

Rowley, whose career spans three decades dedicated to documenting the harsh realities of conflict, observed, “I’ve probably spent around 30 years making movies about war. I think war makes clear the symptoms of our darkest cultural sicknesses.” His long-standing concern about the rise of mercenaries dates back to his observations in Iraq in 2004, where he witnessed the burgeoning role of private military contractors. However, the emergence of the Wagner Group from the shadows marked a seismic shift, signaling “a completely new paradigm.” Wagner’s sheer scale, boasting an estimated 30,000 soldiers—a force larger than most conventional armies in Europe—and its unprecedented achievement as “the first private company to conquer a European city in 500 years,” underscored its transformative impact on modern warfare and international relations. This wasn’t merely a private security firm; it was a state-sponsored proxy army operating with impunity, rewriting the rules of engagement and accountability.

As Rowley delved deeper into Wagner’s labyrinthine world, his film’s initial focus on a specific mercenary group broadened to encompass “an even darker reality”—the insidious “authoritarian turn in our global culture.” This realization elevates “Hell’s Army” beyond a mere exposé of a single entity, transforming it into a profound meditation on the vulnerabilities of democratic systems worldwide. “Democracies don’t need mercenary armies,” Rowley emphatically stated. “They’re what states turn to when they are taken over by thugs and gangsters.” This stark observation serves as the film’s urgent core message, articulating the fear that “this darkness is coming everywhere” while simultaneously holding onto the hope that “there’s still time to sound an alarm for us all to choose a different collective future.” It’s a call to action, urging audiences to recognize the warning signs and actively defend democratic principles before they are irrevocably lost.

When pressed on how his intimate collaboration with journalists, coupled with his own background in reporting, sharpened his awareness of the inherently fragile nature of journalism in an increasingly politically fragmented world, Rowley articulated a sobering perspective. He believes that we are currently witnessing “the death of the liberal order we had lived under in the post-war period.” This profound geopolitical shift, he elaborated, directly impedes journalists’ ability to faithfully document the actions of those in power, who are increasingly adept at shielding themselves from scrutiny and accountability. In a world where truth is contested and facts are weaponized, the role of independent journalism becomes simultaneously more vital and more precarious.

“That’s why I open the film with the famous Antonio Gramsci quote,” Rowley noted, referring to the influential Italian Marxist philosopher. Gramsci’s profound observation—”The old world is dying, and the new world struggles to be born: now is the time of monsters”—resonates deeply with the film’s overarching themes. Rowley elaborated on this, explaining, “We are living in a moment when this world is gone, and we are not yet capable of constructing a new kind of social order.” He argued that “the attacks and the destruction of journalism are part and parcel of this entire kind of devolution of the world we’ve lived in,” portraying the assault on the press not as an isolated incident, but as a critical symptom of a broader societal and political decay.

While the film’s narrative unfolds thousands of miles from American shores, Rowley deliberately makes a point of highlighting its profound relevance to his home country. He cautions that “the authoritarian and oligarchic tendencies that are visible in Russia are visible in the United States as well.” The director draws a chilling parallel, observing that the rise of mercenaries within the U.S. military establishment in Iraq, particularly the reliance on private contractors, served “in many ways, an inspiration to Putin and the Kremlin to create their own operation.” Furthermore, he laments the increasing constriction of media freedom, noting, “The complete media control in Russia… I mean, there’s an increasingly narrow space that we operate in inside the United States as well. I’ve felt [it] in my work.” This stark comparison underscores the universal nature of the threats explored in “Hell’s Army,” presenting it as a cautionary tale not just for distant lands, but for democracies grappling with similar internal pressures.

Given this dire assessment of the global landscape, a natural question arises: does Rowley still harbor hope for the future? “Definitely,” he promptly responded, his voice unwavering.

He elaborated on this conviction, stating, “There is no reason to make these films if you don’t.” His hope is not born of naive optimism but from a deep-seated commitment to the human spirit and the power of narrative. “Whenever you talk to victims of horrible violence, you find people who want to be heard and who deeply believe in the power of those stories,” he explained. These individuals, despite the immense personal risks they undertake to share their experiences, do so because “they believe that the work you do is important and it matters.” For Rowley, this belief translates into a profound sense of responsibility: “I feel that whether or not I lose hope in one moment or another, I have a responsibility to those people to make their faith worth something.” It is this profound connection to the human cost of conflict and the unwavering faith of those who endure it that fuels his relentless pursuit of truth through film.

“Hell’s Army” stands as a powerful testament to the courage of journalists and filmmakers who dare to confront the darkest aspects of humanity. The film was skillfully produced by Richard Butler, Atanas Georgiev, Odessa Rae, Rebecca Teitel, and Caitlin McNally, bringing together a team dedicated to amplifying these critical stories. International sales are handled by Midnight Films, ensuring that this vital message reaches audiences across the globe, sparking necessary conversations about accountability, democracy, and the future we collectively choose to build.