What should we do about Syria?

Ai Weiwei's new film, Human Flow--a 2 1/2 hour binge-watch documentary about the international migrant crisis--proves once again that art isn't required to make anything up that doesn't already exist; that what exists exists, if you can see it, that is.

As film, Human Flow is a peculiar mash-up of Andy Warhol and Mahatma Gandhi in which technique and message are sometimes confused, sometimes to the betterment of each and sometimes for the worst. 

The chairs in the theatre where Ai Weiwei's film was shown last night were uncomfortable metal chairs, and sometime in the second hour of the film I had to get up and stand, so as not to be uncomfortable. The scenes I was seeing on the screen--overflowing refugee camps, air-flotation rafts made of rubber crammed with migrants fleeing the middle-East, bobbing around on the capricious Mediterraean Sea, the carnage that's rained down on Iraq, Afghanistan, and Syria particularly--overcame my uncomfortableness, so I returned to my chair to resume my discomfort.