as a sign over the refugee camp reading "Homeland Security". The similarity between the hellish, cinéma vérité stylized battle scenes of the film and current news and documentary coverage of the Iraq War, is noted by film critic Manohla Dargis, describing Cuarón's fictional landscapes as "war zones of extraordinary plausibility". In the film, refugees are "hunted down like cockroaches", rounded up and put into roofless cages open to the elements and camps, and even shot, leading film critics like Chris Smith and Claudia Puig to observe symbolic "overtones" and images of the Holocaust. This is reinforced in the scene where an elderly refugee woman speaking German is seen detained in a cage, and in the scene where British government agents strip and assault refugees; the song "Arbeit Macht Frei" by The Libertines, from Arbeit macht frei, plays in the background. "The visual allusions to the Nazi round-ups are unnerving", writes Richard A. Blake. "It shows what people can become when the government orchestrates their fears for its own advantage." Cuarón explains how he uses his imagery to cross-reference fictional and futuristic events with real, contemporary, or historical incidents and beliefs: Production The option for the book was acquired by Beacon Pictures in 1997. The adaptation of the P. D. James novel was originally written by Paul Chart, and later rewritten by Mark Fergus and Hawk Ostby. The studio brought director Alfonso Cuarón on board in 2001. Cuarón and screenwriter Timothy J. Sexton began rewriting the script after the director completed Y tu mamá también. Afraid he would "start second guessing things", Cuarón chose not to read P. D. James' novel, opting to have Sexton read the book while Cuarón himself read an abridged version. Cuarón did not immediately begin production, instead directing Harry Potter and the Prisoner of Azkaban. During this period, David Arata rewrote the screenplay and delivered the draft which secured Clive Owen and sent the film into pre-production. The director's work experience in the United Kingdom exposed him to the "social dynamics of the British psyche", giving him insight into the depiction of "British reality". Cuarón used the film The Battle of Algiers as a model for social reconstruction in preparation for production, presenting the film to Clive Owen as an example of his vision for Children of Men. In order to create a philosophical and social framework for the film, the director read literature by Slavoj