The investigation at the heart of FRONTLINE’s new documentary A Dangerous Assignment: Uncovering Corruption in Maduro’s Venezuela unfolded as Venezuelan journalist Roberto Deniz started looking into complaints about the poor quality of food distributed by a government program.

Venezuela was in the throes of economic collapse in 2016. The value of the country’s oil had fallen, leading to a deficit, and Venezuelans faced high inflation and food shortages. President Nicolás Maduro responded by launching a food program called the Local Committees for Supply and Production (Comité Locales de Abastecimiento y Producción or CLAP).

As Deniz and the Venezuelan independent news site Armando.info where he worked looked into the program, they would help uncover a corruption scheme and the figure at the heart of the scandal: Alex Saab. The documentary, made in collaboration with Armando.info, was directed by Juan Ravell, produced by Jeff Arak and reported by Deniz — who is now living and working in exile.

Deniz and Ravell spoke with FRONTLINE about the risks of reporting on Venezuela, tracing a corruption scandal that reached into the Venezuelan government and spanned continents, and the price that journalists pay for investigating the powerful in Maduro’s government.

This interview has been edited for length and clarity. Some of the responses have been translated from Spanish.

Can you both take me back to how this whole investigation started?

Deniz: This has been a long story for us — “us” being Armando.info, but also for me, as a journalist. My investigation about Alex Saab started in 2016. That was the moment in which I decided to start investigating what was happening behind the CLAP program. But in 2015, the name Alex Saab came up in an investigation about a contract that he got to build buildings for poor people in Venezuela. The moment when I realized that Alex Saab was also behind the CLAP food program, it was a big signal: This is not a simple contractor of the Venezuelan government. He’s a man who is more powerful than we could imagine.

Ravell: I wasn’t there from the beginning, but I did start collaborating with Armando.info around 2019. They were doing short pieces with different styles in their investigation, so I was making shorts for them and little videos. I remember clearly when the Alacran [Scorpion] investigation broke. An investigation by Armando.info found that opposition lawmakers worked secretly to defend some of Alex Saab’s businesses abroad. And I remember listening to the phone call that Roberto had with Venezuelan opposition politician Luis Parra and I was thinking, “This is insane that nobody’s listening to this call and so few people are aware of the job that Roberto is doing.” The way that Roberto behaved — very controlled, pressing but fair — was impressive to me. That’s when I got the initial idea. Then, when Alex Saab was detained in Cape Verde, we were pretty much convinced that this needs to be a documentary.

Alex Saab’s business network was complicated and vast. Juan, how did you decide what aspects of the story to focus on while filming this documentary?

Ravell: Roberto’s investigation led the narrative. We wanted to follow the most important stories Roberto was publishing, and those that had the most impact. The milk investigation is pretty important to Venezuelans and finding out who was behind its import. A chemical analysis requested by Armando.info showed some of the powdered milk in the CLAP boxes was so deficient in calcium and high in sodium that a researcher noted it couldn’t be classified as milk.

We knew Alex Saab before that. There had been some reporting by Armando.info, but when they connect him to the CLAP importing scheme, that’s when this story gets going. So from then on, we’re basically following Roberto through his investigation and his stories. Other journalists were also working on this case like Gerardo Reyes from Univision and Joshua Goodman from The Associated Press.

Roberto, at what point did you realize the scale of Saab’s business network and its connection to so many Venezuelan government projects?

Deniz: Since 2016, when I realized that Alex Saab was behind the CLAP program. For me, it was very clear that Alex Saab was a man that we have to investigate. The idea that he was the man behind this program to provide food to poor people in Venezuela — that Nicolás Maduro gave all this power to these guys — was a very important signal. When I started, I realized that there was a lot of fear to talk about him. Some sources immediately told me, “Well, Roberto, you have to be careful, because this is a powerful man and is very close to Nicolás Maduro.”

Roberto, you say in the film that some of the information about Saab’s dealings was difficult to uncover, and you needed to find alternative sources. Can you share the process you used to vet these sources to make sure that the information that they were providing was legitimate?

Deniz: In a country like Venezuela, there are severe threats and intimidation against the journalists that dare to do this kind of work. Normally, a journalist can access information from public records, and you can access officials and expect some kind of response. But that doesn’t happen in Venezuela. They won’t even want to acknowledge that you have contacted them.

I spoke to many of the sources that I had gathered for many years, whom I thought could have useful information about what was happening with the CLAP program. That was how I started to gain access to information, documents, papers that confirmed and signaled that Alex Saab was behind all this. You have to double-check, check three or even four times, every piece of information.

I also had many off-the-record sources. I think that over time, those sources have seen the determination that I and the team at Armando.info have had regarding this investigation, and that’s the main reason why they have trusted in our rigor and perseverance.

What was the most challenging aspect of telling the story visually?

Ravell: I’d say finding the balance. It’s a lot of documents. It’s a lot of words. It’s a lot of very dry information that we need to present in an interesting way, so I think what we managed to do is just rely on the narrative and try to find the best ways to translate that into a compelling film.

We were present in certain key moments. When Roberto’s house in Venezuela was raided, we had a camera with Roberto and we were able to interview him that night. The day of the prisoner swap — when Saab was returned from Miami to Venezuela — was interesting, because we had a team in Bogotá following Roberto and a team in Miami. So two different teams in two separate cities covering the same thing. It was an interesting experiment. And I think it comes across nicely in the film.

Roberto, you shared how reporting this story has led to you living in exile. How has that affected your ability to tell stories about what’s going on in Venezuela? What kind of challenges do you face now doing the same kind of journalism you used to do from inside the country?

Deniz: Since I had to get out of Venezuela in 2018, the most difficult thing was answering, “How can I do my work now?” It was so difficult. All of my life, since I decided to become a journalist, I was living in Venezuela, working in Venezuela. But ultimately, my exile was a solution for me, because I could keep working.

The most difficult thing, I think, is the personal part, the family. I know that all of these investigations are not easy for my family, all their grief, all the personal costs that I decided to face during all of these years.

People told me, “Wow, Roberto, you are brave,” “You are a strong person.” I am totally convinced that it’s not related to that. It’s related to our duty as journalists, our responsibility as journalists in a country like Venezuela. People don’t have the opportunity to know what is really happening in the country. I think that has pushed me to continue on in this investigation.

Many times I have thought that this is the moment to end the investigation. I cannot continue anymore. But I have to continue on what we have tried to do in Armando.info.

Can you both speak about the government’s reaction to this journalism, and what it says about press freedoms in Venezuela? What impact is the current atmosphere having on reporters still working inside Venezuela?

Ravell: It’s pretty clear from NGOs that research freedom of expression that investigative journalism and free, independent journalism is at risk in Venezuela. If you publish something and you get sued for defamation, that could end up getting you criminal charges and that can put you in jail. What Armando.info decided to do is just go in and report on hard things, subjects like corruption, and report on people who are very connected to the highest reaches of the Venezuelan government. By doing that, the choice they had to make was to leave the country. One of the few ways you can report on Venezuela is by going into exile. Still, in exile, there are risks, as you can see in the film. Roberto’s house in Venezuela was raided right before Alex Saab was extradited. So he’s in exile, and he’s still persecuted.

Deniz: I have been in exile since 2018, and nowadays I don’t feel that I am safe living abroad. I think that shows how powerful the message of an autocratic government is when they decide to oppose the work of independent journalists. If you see all the stories related to the Alex Saab case, the first legal action that I faced was in 2017 when he decided to sue me. I could face jail if I stayed in Venezuela. I’m totally sure about that. But then in 2021, I got a new legal action against me. I think that is a clear message that even if you get out of Venezuela, but you continue with your work, you are going to face all of the power of the Venezuelan government. It’s so sad for us as journalists.

Shortly before the premiere of this film, the Venezuelan government began responding to the documentary. Can you give us your take on their response?

Deniz: The attorney general of Venezuela accused us — Ewald Scharfenberg, editor and founder of Armando.info, and me, as a reporter — of supposedly being part of and benefiting from a “corruption scheme” related to Venezuela’s ex-oil minister, Tarek El Aissami, who was incarcerated some weeks ago and who’s been questioned for more than a year within a corruption investigation in PDVSA, the Venezuelan state-owned oil company.

It’s not a coincidence that this is happening right after we released the documentary’s trailer. For me, it’s more than evident that this accusation is total nonsense, but that doesn’t make it less serious, because this is a criminalization of the journalism that we have been doing in Armando.info. Sometimes I think that if you compare the work of Armando.info with all the power of the Venezuelan government, we’re like a dwarf fighting a giant, a tiny particle against a huge government, but that only shows you the authoritarian nature of this regime. They won’t tolerate, they won’t accept that some people persist and keep investigating.

Watch the full documentary A Dangerous Assignment: Uncovering Corruption in Maduro’s Venezuela:

Max Maldonado, Tow Journalism Fellow, FRONTLINE/Newmark Journalism School Fellowships, FRONTLINE

Email:

max_maldonado@wgbh.org