The True Story Behind Katrina: Come Hell and High Water

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Exactly twenty years ago, on August 29, 2005, Category 3 Hurricane Katrina struck New Orleans, Louisiana, leading to the failure of the city’s levees, resulting in devastating floodwaters that took over a thousand lives.

Today, Katrina remains the most expensive hurricane ever to hit the United States, with damages exceeding $200 billion in current terms. The storm forced tens of thousands of New Orleans residents to leave their homes, many of whom never returned, settling instead in states like Texas and Georgia. Critics accused both the city authorities and the federal government of failing to adequately protect vulnerable areas before the disaster and of inadequate rehabilitation efforts afterwards. The residents who were disproportionally affected by these failures were predominantly from racial and ethnic minority groups.

In the upcoming three-part documentary series titled “Katrina: Come Hell and High Water,” available on Netflix starting August 27, the enduring effects of Hurricane Katrina are explored in depth. The series, executive-produced by Spike Lee, features interviews with survivors, politicians from that era, home videos, and news clips to provide a retrospective view of the disaster. Notably, Spike Lee also directed the 2006 documentary “When the Levees Broke: A Requiem in Four Acts.” This new series delves into the most harrowing instances that reveal the human toll inflicted by Hurricane Katrina.

Weathering the storm

In many impoverished, low-lying regions of New Orleans, numerous residents, predominantly of African and Latino descent, lacked both the monetary resources for evacuation and personal vehicles or access to them.

As a devoted cinephile, I vividly remember the grand unveiling of the colossal Superdome, once acknowledged as the world’s biggest indoor arena. In times of necessity, it was intended as a refuge for those who couldn’t flee their homes. Alas, an inordinately long queue barred numerous residents from gaining entry, leaving them outside, yearning to seek shelter within its walls.

In the TV show, I, from the Lower Ninth Ward, had plans to escape to Nashville, but my mother was too ill to abandon our city. The queues for the Superdome were mind-boggling long, and her fragile state made it impossible for her to endure the wait. Since the area designated for special needs residents inside the arena wasn’t ready yet, we were forced to return home.

As the storm hit the shore, Green recounts that he was stuck in the attic. His brother forcefully created an opening in the roof and managed to extract their mother and young granddaughters from there.

According to Green, the house seemingly transformed into a drifting vessel, lifting from its base and moving along the street as if propelled by water. This house collided with a heap of debris, causing it to catapult everyone involved into the water. Unfortunately, both his mother and granddaughter were swept away by the current.

The aftermath

After the hurricane had moved through, locals found themselves isolated, submerged in deep floodwaters. Desperate messages were scribbled on rooftops appealing for help. In this unfortunate scenario, one roof bore graffiti pleading for rescue of a diabetic with heart problems, while another requested aid as the inhabitants couldn’t swim. Parents carried their children on their backs in search of safety.

In my observation, as the floodwaters rose, I found myself joining many others in search of higher ground along the interstate. Remarkably, old footage from above reveals that our makeshift refuge was marked with both survivors and those who tragically lost their lives. Amazingly, it’s estimated that around 15,000 individuals sought safety within the city’s convention center during this trying time.

In a film enthusiast’s perspective, this series sheds light on the biased language used in news reports during food and water crises. While white individuals “discovering” supplies for their loved ones are tactfully portrayed, African American individuals doing exactly the same thing are unjustly labeled as looters.

Living in the Tremé district of New Orleans, Leann Williams found it unsettling to witness groups of military personnel carrying machine guns within the Superdome. “It made me feel as though we were being viewed as lawbreakers,” Williams expressed in the show.

She reminisces about feeling as though federal officials had overlooked the city, expressing her disbelief by saying, “It’s hard to comprehend; my country carries on, yet we seem to be forgotten. Are there any who will lend a hand?

Obstacles to rebuilding

Rebuilding efforts have been uneven and the effects of Katrina are still felt today.

In the show, Douglas Brinkley, a history professor at Rice University and author of “The Great Deluge: Hurricane Katrina, New Orleans, and the Mississippi Gulf Coast,” contends that predominantly Black and brown communities were deliberately denied sufficient resources for complete rebuilding. He asserts that this was a purposeful choice made by insurance companies, bankers, and the financial sector, resulting in the neglect of areas like Gentilly, Lower Ninth Ward, and several other vital neighborhoods.

After the disaster, Louisiana received a $10 billion grant to manage the Road Home Program, the biggest post-disaster housing recovery initiative in the U.S. This program aimed to cover costs not covered by insurance or other federal aid. However, the compensation for rebuilding homes was based on their appraised values, which put the poorest neighborhoods at a disadvantage because they had lower home values.

As a devoted fan, I’d like to share my experience with a remarkable foundation that has played a significant role in my life – the Make It Right Foundation, spearheaded by the talented Brad Pitt. This organization focused its efforts on constructing new homes for educators, first responders, and residents of New Orleans’ Lower Ninth Ward, who were displaced following Hurricane Katrina.

In my personal journey, I’ve had the privilege of living in a house built by Make It Right for a decade now. The process was nothing short of incredible. When I moved into my new home, I paid a modest deposit of $1,500 and on the day I closed, I remember it only cost me $43. It’s an experience I’ll always cherish, and I’m eternally grateful for their selfless work.

Nevertheless, the offer seemed unusually beneficial, and Robbins confirms she’s already spent $20,000 on repairs and borrowed a $145,000 loan. The playground maintained by Make It Right, located near her home, is in poor condition, causing her concern about letting her child play there due to its precarious state.

Green likewise received a house from Make It Right, but it appears the foundation requires replacement, estimated to cost around $50,000. He expresses feelings of deception in the series, stating, “It feels like I was manipulated… I feel betrayed and now I’m stuck with a house that will crumble someday.

As a film enthusiast, I’ve had some challenging experiences with my home, particularly the floors that were made of this innovative yet water-resistant wood – or so I thought! Every time I took a shower in the guest bath, I’d find myself dealing with an unwelcome leak in the neighboring guest room, which ended up costing me a hefty $8,000 for repairs. To make matters worse, during one fateful moment while using my main bathroom, I found out the hard way that this water-resistant claim was not entirely accurate – my leg fell right through the floor!

2022 saw the Make It Right Foundation resolve a $20.5 million lawsuit regarding homes in their Lower 9th Ward New Orleans development through a settlement. As stated by People, Pitt expressed hope that this agreement would pave the way for future endeavors aimed at further strengthening this resilient community. The non-profit organization Global Green has been enlisted to renovate these properties and is reportedly halfway towards achieving its goal.

Despite their strong desire to remain, residents of these homes refuse to abandon New Orleans. It’s their city, and the documentary concludes with a poignant montage showcasing what makes it distinctive and robust. In no uncertain terms, U.S. Army Russel Honoré, who led post-Katrina recovery efforts, expresses his unfiltered opinion: “New Orleans makes Louisiana worth living, without it, the state would be mediocre at best.

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2025-08-27 22:06