This new release was screened in the Leeds International Film Festival and was also the first title in the 2018 Leeds Palestine Film Festival which runs on until December 11th. The film was a fine production to grace the Official Selection programme in the Leeds Festival and a strong opening film story for the Palestinian Festival. The Festival catalogue describes the film as
Both a nail-biting thriller and a heart-breaking love story.
This is a film that combines genres, an ‘infidelity’ film, a thriller and, at times, I felt it had tropes found in spy films. The main story concerns an adulterous affair between an Israeli woman, Sarah (Sivan Kerchner) and a Palestinian man, Saleem (Adeeb Safadi). This is treated as tragedy, rather like the film versions of Nathaniel Hawthorn’s ‘The Scarlet Letter’. The thriller element is far from that of Fatal Attraction (1987).
Whilst the film concentrates on the personal relationships, the situation, the occupation of Palestinian lands, structures the whole narrative. But the conflict between two peoples is amplified here by differences of class. Sarah is married to a high-ranking Israeli Officer, David (Ishai Golan) in the Israeli army security service. She is attempting to run her own business, a café, but this attempt has been made intermittent by David’s work leading to moves. She has a young child. Saleem works as a delivery driver for an Israeli bakery and is married to Bisan (Maisa Abd Elhadi) who is pregnant. Sarah and David live in West Jerusalem, Salem and Bisan live in East Jerusalem.
In addition to his work as a delivery driver Saleem is persuaded by his brother-in-law, [not a sympathetic character] to use the van for an unofficial delivery service in the West Bank after work: This includes Bethlehem beyond the ‘apartheid wall’ constructed by Israel.
There are nuances here resulting from the occupation. Israeli licence plates are clearly distinguishable from those issued by the Palestinian Authority. It appears that Arab citizens of Israel, including Palestinians living in East Jerusalem, have the same type of plates as other Israeli citizens. The van Saleem drives has Israeli plates and at checkpoint he passes with ease whilst queues of cars with Palestinian plates are visible in the background. There are further nuances as the film features both the Israeli police and Israeli Security Service and the Palestinian Police and the Palestinian Security Service.
These all enter the narrative at various points after Saleem takes Sarah with him on a delivery to Bethlehem; their usual assignation take place in a car park. An argument in a café and the obvious presence of an Israeli vehicle in a Palestinian area lead to investigations. The Reports of the title are compiled by the Palestinian Security but later fall into the hands of the Israeli Security. As one investigation follows another the complexities of the situation emerge for the audience. And the feelings and values of both Sarah and Saleem are tested as are those of their partners, David and Bisan. We also see the different responses of both Israelis and Palestinians as the affair becomes known.
The film has been written and directed by two Palestinian brothers, Rami Musa and Muayad Alayan. They also produced the film through their company Key Films, with co-producers from Germany and Mexico. They have previously produced several short films and one other feature, Love, Theft and Other Entanglements (Al-hob wa al-sariqa wa mashakel ukhra 2015). I have not seen this film which does not appear to have had a British release. It does though suggest generic affinities with The Reports on Sarah and Saleem, the plot involves a Palestinian who mistakenly steals an Israeli car.
The Alayan brothers also worked on the cinematography and art design for this earlier films. Here they have assembled a skilled production crew. Sebastian Bock provides the cinematography which does fine work with both interiors and exteriors. He also uses a hand-held camera for certain dramatic sequences, [presumably a steadicam with a loose setting]. The interiors range though daytime and night-time lighting, with chiaroscuro in places. This also applies to the exteriors, which include narrow streets, car parks, the ‘separation wall’ and at judicious intervals long shots of both sectors of Jerusalem, Nazareth, and briefly the empty desert landscape of the South. Whilst these settings focus on the development in the plot they also are reminders of the conflict setting which is so important to the narrative. And the editing by Sameer Qumsiyeh keeps up a narrative pace that maintains both the drama and the developing mystery of the story.
The film works well as a drama and is absorbing and at times generates real tension. There are relatively explicit sex scenes, unusual for a Palestinian film. Added to this is the representation of key aspects of the lives of Palestinians under Israeli occupation. As is regularly noted in the media East Jerusalem is at the conflicted edge of the struggle for Palestinian independence. The Israeli control and harassment of those Palestinian living in East Jerusalem is hedged round with restrictions and constantly threatens their homes and their culture. This emerges with increasing power as the film’s narrative develops.
The film was shot digitally and is in 2.35:1 and colour. The dialogue is in Arabic, Hebrew and English with the first two languages translated in English sub-titles. The Festival screening was the British premiere and to date there is not a British release listed for the film which neither has a BBFC certificate. The DCP for the screening was provided by Heretic Outreach, based in Athens,
Heretic Outreach is a boutique world sales agency that supports and encourages outstanding films and film-makers to reach out to the world, by becoming a key partner for solid strategies in festivals, sales and alternative distribution models.
One would expect this film to feature in other Palestinian film events round Britain, of which there are now a number. Hopefully it also be picked up by a distributor for a more general release.
Is there any country in the world with a higher batting average in films produced than Palestine? It’s not even technically a country but an occupied land which, as the funding sources listed above indicate, needs all the help it can get. Yet every Palestinian film I’ve seen has been well worth watching and many of them have been excellent. Annemarie Jacir has made three of the best Palestinian features as director, she also writes and produces (see Speed Sisters) and she acted as curator of the ‘Dreams of A Nation’ Palestinian Film Festival in 2002. She’s a phenomenon.
She wrote and directed Wajib and it is a brilliantly conceived narrative with fabulous performance by the two leads, the real-life father and son actors Mohammad and Saleh Bakri. Palestine is a small country with many people and many more living in exile, as refugees or migrants. The West Bank and Gaza are strips of land a few miles across and on the West Bank penetrated by Israeli settlements. So the obvious solution is . . . a road movie! Not only that, but a road movie set entirely in the Christian Arab community of the small city of Nazareth, the largest Arab city within the state of Israel after its capture by Israeli forces in 1948. This is truly a narrative of a fecund imagination. It’s also unusual as a narrative with a plot that only covers a few hours – though the story depends on events over many years.
The starting point is the ‘wajib’ or ‘duty’ of Abu Shadi in delivering by hand all the invites to his daughter’s wedding on the Saturday before Christmas. Abu Shadi is not a well man and there are a lot of stairs to climb. Fortunately, his son Shadi has arrived from Italy and the two drive slowly around the city in the family’s old Volvo. Everybody needs imagination living as a kind of prisoner in an occupied city. Abu Shadi is a teacher who has seemingly taught most of the young men he meets has had to ‘keep face’ by inventing stories about his son’s life in Italy but now with a son baffled to learn that he’s meant to be something he isn’t, it’s got a lot trickier. Any single man like Shadi is bound to be asked questions about why he hasn’t married and to be offered every eligible daughter.
I wonder if the slightly smaller audience that the film attracted for its single showing in Hebden Bridge was a result of its relatively low-key presentation of the politics of occupation? We are used in the UK to Palestinian films that involve direct conflict with the Israeli state in some way – often through the military or settlers or movement restrictions. Setting the action in Nazareth doesn’t mean that such issues are not important, but that they are expressed in different ways. There is actually a political discourse but in one sense it is developed in quite subtle ways and in another it is played out in the generational difference between father and son and between ‘staying’ and exile/migration.
I can imagine a similar film being described as a ‘bitter-sweet comedy’ and Wajib does have many small moments of humour, mostly arising from the interactions with friends and relatives who receive the invites. The father-son relationship also functions as a universal story so you don’t need to know that much about life in Nazareth to appreciate the film, but it is so much richer if you delve through the small incidents for their deeper meanings. The father-son relationship does reach a climactic moment which is confidently handled and the film ends at what for me was the perfect moment. To avoid spoilers I haven’t discussed the other characters – present or absent – but be assured there is plenty to enjoy across 95 minutes. Annemarie Jacir’s previous film, When I Saw You (2012) is a must see and is fortunately available in the UK on DVD. Saleh Bakri appears in a lead role in that film and also in Salt of this Sea (2008) which is only on a Region 1 DVD.
SPOILER! The trailer below starts of well, giving a good sense of the ‘feel’ of the film – but then gives away an important plot point. You’ve been warned!
The 2017 Festival launches during the Leeds International Film Festival with a new documentary Gaza Surf Club. The film has been directed by two young filmmakers with funding from German Public Broadcasting Company, Westdeutscher Rundfunk Köln. In Gaza there is a small band of enthusiasts who ride the surf in the coastal waters. The added dangers of the sport here are the Israeli blockade and maritime restrictions. It is in colour and with both English and Arabic.
The Occupation of the American Mind is a documentary produced by the Media Education Foundation. The writers and directors Loretta Alper, and Jeremy Earp have provided an exploration of that central movement attempting to protect Israel from scrutiny and justice in the USA. This ‘propaganda’ and pressure is replicated to a smaller extent in Britain as well. Filmed in colour and all in English. The film will be followed by a talk and discussion with former Reuters journalist Naomi Wimborne-Idrissi. Naomi is a leading campaigner for ‘Free Speech on Israel’.
Firefighters Under Occupation is a distinctive documentary. Sponsored by the Fire Brigade Union it was filmed by a South Wales firefighter on a trip to the Occupied West Bank where indigenous firefighters operate the equipment donated by their comrades in Britain. The event also has a distinctive venue, the converted Gipton Fire Station now an East Leeds Community venue.
The Time That Remains is the most recent feature by Elia Suleiman released in 2009. Suleiman is a pioneer of Palestinian cinema, his first films in the 1990s were produced before the present expanded cycle of films made in the occupied territories emerged. Dramatising his own life and that of his father Fuad Suleiman produces a complex narrative setting out both the Israeli domination of Palestinians and their resistance. The film treats the subject with a degree of irony. See review.
The Idol from the 2016 Festival at a new venue. This title dramatises the story of Muhammad Assaf, the Gazan wedding singer who won the prestigious Television Contest ‘Arab idol’. The film had some fine sequences set in Gaza in his childhood and returns there at the end with actual footage of the celebrations on his success.
Also returning from 2016 is Balls, Barriers & Bulldozers, a documentary following a British tour of the West Bank playing against Palestinian women football teams. The film is about the sport and about the experience of visiting the Occupied Territories.
‘Existence is Resistance’ is an evening with short films and an exhibition of photographs. The theme is ‘Sumud’, that is ‘steadfast’. The short films are Sumud: Everyday Resistance; Journey of a Sofa; and Shireen of al-Walaja the portrait of a popular resistance leader.
Finally we have ‘Film Maker as Activist – an afternoon of short films and discussion with Jon Pullman’. The Forgotten addresses the condition of the millions of Palestinian refugees who still wait for the liberation of their homeland. The filmmaker will also talk about his planned film, The Lynching, which will deal with the current ‘anti-semiotic’ witch-hunt in the British Labour Party.
The Festival offers a varied selection of films in both theatrical and community settings. Now well established the Festival brings a political edge to film viewing in West Yorkshire.
Check the festival out at: http://www.leedspff.org.uk/
Halifax Friends of Palestine are putting on a Palestinian Film Festival in venues around Calderdale in West Yorkshire this month (one in November). There will be five screenings in different parts of the district, some in cinemas (in Hebden Bridge and Halifax) and others in community venues in Todmorden, Halifax and Sowerby Bridge. Looks like a great initiative.
The five screenings are:
Flying Paper (2013)
12 October, Hollins Mill, Sowerby Bridge
Speed Sisters (Palestine-Canada 2015)
18 October, Hebden Bridge Picture House
Villa Touma (2014)
20 October, Fielden Centre Todmorden
3000 Nights (2015)
22 October, Square Chapel Halifax
The Idol (2015)
11 November, Pellon Community Centre, Halifax
Download the flyer here (click on the image):
Identity is everything in Israel and Palestine – nationality, religion, ethnicity, gender, sexual orientation, tradition and modernity all demand that individuals must make decisions and then expect their choices to be defining. I’ve got in trouble before for describing films and characters from the region in ways that people find objectionable, so I’m treading carefully. In Between is officially an Israeli film (receiving public funds, eligible for awards etc.). The writer-director Maysaloun Hamoud was born to Palestinian parents living in Budapest where she grew up before going to university in Jerusalem and then film school in Tel Aviv. The three young women at the centre of her film are variously described as ‘Palestinians’ and ‘Israeli Palestinians’ in interviews, reviews and promotion materials for the film. Asked about her influences, Hamoud plays the game citing Guy Ritchie and Hollywood B movies in one interview and Ken Loach and Egyptian cinema in another. She sees herself as challenging ideas about Arab cinema. But most tellingly she identifies with Ajami (Israel-Germany 2009) the film made by an Arab-Jew pairing about crime on the streets of Jaffa (the ancient Arab port city, now engulfed by Tel Aviv) where Hamoud now lives. “I was criticised for taking Israeli government funding to make [In Between]. But that money is ours, we should take more. We don’t take what we deserve.” This is what she told the Guardian last week in London where she has been creating a stir promoting the film. It has all paid off, she says, because young people are contacting her about the film.
As the title implies (I think its Arabic title means something like ‘Land and Sea’), this film is about identities ‘caught between’. The three central characters are young women. Leila (Mouna Hawa) is a secular Muslim with a job as a lawyer dealing with rights claims. Salma (Sana Jammelieh) is a Christian Arab whose dream is to be a DJ and who survives by working in kitchens and bars and Noor (Shaden Kanboura) is a religious Muslim from a conservative village who is studying computer science at university. It is the arrival of Noor as a flatmate, arranged through a family friend, that kicks off the narrative. How will she get on with these two ‘modern’ women who smoke, drink, take drugs and have affairs? More to the point, perhaps, how will Noor’s fiancé Wissam deal with the new situation? It’s not difficult to guess, but this isn’t really a plot-driven narrative. More important is to enjoy the interrelationships between the women and to see how they develop a response to their different situations. The three actors (two with little or no experience) are totally convincing in their roles. For a first feature this is a staggering achievement for Maysaloun Hamoud and her crew.
The film succeeds so well because Hamoud has managed to judge just how much she has to show to represent the challenge to each of the women. Leila thinks she has found a soulmate and Salma starts a lesbian affair with a trainee doctor. Both flatmates have yet to see how their new relationships will be judged by family members. Restraint in this case works better than excess and the open ending of the film means we leave the screening thinking about what these women have achieved, but also aware of what else they might face. Add to this the subtle way in which each of the central characters (who are each in some way representative of different identities) is ‘humanised’ and allowed to become rounded and we can recognise Hamoud’s skill. She also gives us one shocking scene, handled with sensitivity, that highlights the whole struggle.
The film is low budget but still gets across the vitality of Tel Aviv and this is partly through the use of music, another of Hamoud’s passions. She tells us that she has tried to convey the type of underground music scene that is enjoyed by many of the different groups in Israel and Palestine.
In Between has won several awards at international film festivals and it is an important as well as enjoyable film. There is an excellent UK website for the film presented by distributor Peccadillo Pictures, including videos, music and information about where it is playing. In the North of England you can catch it in Leeds, Manchester and Newcastle this week. I hope you can find it.
After the success of a Festival of Films in Leeds in 2015 we can enjoy a new programme of works that give expression to the long struggle of the Palestinian people for land and freedom. The full programme is on a Webpage of the Leeds Palestinian Solidarity Campaign. As last year the Festival commences with a film screening in the Leeds International Film Festival. This is Ambulance / Ambulance Gaza (2016). The film is a powerful and personal account of witnessing the Zionist war on Gaza in 2014. The young filmmaker, Mohamed Jabaly, has made a record of his time with the ambulance crews who braved the streets of the war zone to aid the sick and injured. The film won a Sunbird Award at the recent ‘Days of Cinema’ Festival in Ramallah in the Occupied Territories.
The film is graphic and has been given a 18 Certificate. There are three screenings at the Leeds Everyman starting this Friday November 4th. Note, the Everyman had definite limitations as a ‘cinema’: the sightlines are not always good so pick your seat in order to read the subtitles.
The Festival will continue through November and early December with films that include women racing drivers and footballers, skate boarders and kite flying. A rich variety of the vibrant Palestine culture under occupation.
I was eagerly looking forward to my last film and it didn’t disappoint. At a superficial glance Speed Sisters might look like something made for a sports channel on cable TV – but it is so much more than that. It’s actually a well-shot and well-edited 80 minutes which explores a whole range of issues about sport, gender and politics in one of the most difficult parts of the world to discuss any of the three. And it’s very entertaining. Motor racing is expensive so inevitably the five women at the centre of this film are all to some extent ‘middle-class’ but that doesn’t really matter. They all face the same kinds of problems that affect the mass of Palestinians on a daily basis – and it’s actually quite refreshing to see Palestinian women who can assert themselves without having to play the roles of ‘victims’.
Speed Sisters is the first feature-length documentary by the Lebanese-Canadian director Amber Fares and she does a great job. Her approach was risky – to follow five women over the course of a couple of years, hoping that there would be a worthwhile narrative to be constructed from the footage collected. In the final edit there are stories about four of the five women with one, Mona, rather fading into the background – though this is because she races more for fun than to be a ‘winner’ as such. The other four comprise the ‘team manager’ Maysoon whose journey takes her into marriage with a Jordanian driver and the three real competitors Betty, Noor and Marah.
The film works on several levels, all of them challenging in terms of stereotypical views of life on the West Bank. The young women are engaged in what is called ‘street racing’. But this is the West Bank with little space for sporting activity of any kind and restrictions on the use of roads and the general movement of people. This sport therefore becomes a time trial involving manoeuvring road cars around a complex ‘track’ marked out on a public square, market space etc. The women compete alongside the men but their times are recorded for a separate Women’s Championship. Each event involves three ’rounds’ with dozens of competitors. It is interesting that while the women are enthusiastically supported by the men who work on the cars, they still suffer from the authoritarian rule of the men in charge of the sport – who seem to make up their own rules as they go along. Maysoon, who runs her own shop in Jerusalem, attempts to protect her team from the worst decisions but they still have an impact.
Noor struggles to remember the correct route around the traffic cones and is often disqualified. Marah is, I think, the youngest driver – and arguably the best and most committed – but also the one who suffers most because of the changing rules. She is in some ways the hero of the narrative, living in Jenin in the North and passionately supported by her dad, who runs his own dental technician business. Betty, Palestinian-Mexican, wealthy and glamorous is the media favourite. It’s good to see that while there is intense rivalry, the women still support each other. The racing scenes are exciting and there is a terrific soundtrack:
While living in the Middle East, I also discovered a thriving, vibrant independent music scene. I wanted the Speed Sisters soundtrack to highlight some of these talented artists. The soundtrack needed to be authentic, fresh and as diverse as the Middle East. (Amber Fares)
Any kind of social activity in Palestine is difficult. At one point the team is attacked by Israeli soldiers when they drive near the wall. There is also a section of the film which makes an important point about the occupation. Noor and Betty have the ‘right kind of number plate’ that allows them to travel between Palestine and Israel, passing through checkpoints. One day they offer to take Marah to see the sea. Marah has to walk through the extensive border controls, with their long caged walkways, to meet the others on the other side. She’s never see the sea before (Jenin is only a short drive from the sea). When she gets to splash in the sea, it’s obvious that it has a profound effect on her.
Speed Sisters is a wonderful film. It’s released by Dogwoof in the UK on 25th March with various preview screenings lined up for International Women’s Day on March 8th. Don’t miss it!
This film featured in the Cinema Versa section of the Leeds International Film Festival: it is also the first film featuring in a Palestine Film Festival in Leeds. It provided an auspicious start. The film is extremely well made, offers an imaginative combination of techniques, has a funny but also sad narrative and a strong political content.
The basic story occurred in the First Palestinian Intifada; importantly before the signing of the Oslo Accords and the setting up of a Palestinian Authority in the lands occupied by the Israel. The small village of Beit Sahour was involved in a boycott of Israeli products and in a tax boycott. As part of this the people invested in 18 cows, bought from a kibbutznik. The people learned how to care for the cows and commenced providing Intifada milk. But the Israeli authorities, concerned about the example this set during the Intifada declared the cows a “threat to the national security of the state of Israel”. So a cat and mouse struggle developed as the Palestinians tried to protect their livestock and maintain their action.
The film uses an ingenious combination of documentary interviews with those involved in the events, archival footage, drawings, black-and-white stop-motion animation [Claymation] as well as re-enactments. One of the most enjoyable parts of the animation are the four cows – Rikva, Ruth, Lola and Goldie – who are voiced by performers. Originally somewhat Zionist and looking down on the Palestinians, they become part of the village and victims along with the Palestinians.
The politics of this story are often quite subtle, though the oppressive Israeli actions are clearly depicted. The import of a struggle waged by ordinary Palestinians under direct occupation is emphasised, as is the intelligent and collective action in which they are involved. There are bitter comments on how the later Oslo Accords disempowered ordinary Palestinians in the struggle. (Check out Al Jazeera’s The Price of Oslo).
The key player in the film was Amer Shomali, brought up in exile, but later returning to his home village, Beit Sahour. His initial ideas were supported by Montreal-based producer Ina Fichman and then by the co-director on the film, Canadian Paul Cowan, who also scripted the film.
The film is certainly at times very witty, but it is also very moving. The courage and inventiveness of the Palestinians is impressive, whilst the members of the Israeli occupation are remarkably honest about their motivations and actions. The film got a warm response from the audience who filled the Town Hall’s Albert Room. The film is marketed by the National Film Board of Canada, that auspicious institution responsible for many fine documentaries.
The Palestinian Film Festival, organised by Leeds Palestinian Solidarity Campaign, continues into December. Meanwhile this film remains a really worthwhile 75 minutes, if you can catch it. It is in colour and the Arabic, English, Hebrew and French soundtrack is covered by English subtitles. (Co-produced by Palestine, Canada and France 2015).