In juni 1967 vond de Zesdaagse Oorlog plaats tussen Israël, Egypte, Jordanië en Syrië. De strijd resulteerde in een overwinning voor Israël, dat de Gazastrook, de Sinaï, de Westelijke Jordaanoever en de Golanhoogten bezette. Een week na de oorlog nam een groep kibboetsbewoners onder leiding van Avraham Shapira en schrijver Amos Oz een serie openhartige gesprekken op met soldaten die net waren teruggekeerd van de strijd. De opnames werden gecensureerd door het Israëlische leger en zeventig procent van de gesprekken werd nooit openbaar gemaakt. Deze film laat voor het eerst de ongecensureerde geluidsopnames horen. Regisseur Mor Loushy illustreert ze met een keur aan archiefbeelden in kleur en zwart-wit, variërend van propagandaliedjes tot internationale nieuwsreportages. Ook filmt ze de veteranen terwijl ze voor het eerst hun eigen verhaal weer terug horen. Loushy laat hen daarbij niet aan het woord; hun blikken spreken boekdelen. De gesprekken vertellen een universeel verhaal over de gruwelen van oorlog. De soldaten praten over de angst die ze voelden, de verbijstering en hun medelijden met of juist minachting voor de vijand. Ook vertellen ze over hun ambivalente gevoelens bij de oorlog. Het is de tragische paradox van een volk dat op zoek is naar vrijheid, maar zelf bezetter wordt.
by Laila Abbas, 2017, 15 min
Synopsis: Coming to visit her family in Palestine, Olga finds that her grandmother passed away, and she gets involved with helping her aunt with the funeral and the wake. Meanwhile, the family’s friend Maria is trying to find a husband for Olga. But Olga has another plan.
Channel al Duwara
Channel Al Duwara is based on the history of Al Duwara, a Palestinian village depopulated and destroyed in 1948, with the foundation of the state of Israel. On its land stands today’s Kibbutz Amir. Together with the physical village, all its real memories were wiped away from the official history of the Jewish state in their place the myth of a “heroic” fight between Jewish pioneers and a barren, diseased, Arab land has been fabricated. The story of this Al Duwara is similar to hundreds of other villages. This short art work satirises and deconstructs the propagandistic narrative of the colonisers, combining Zionist rhetoric and PR movies from the 1950s with animated “ghosts” of a past denied superimposed on these images of heroism and might.
Chic point : fashion for israeli checkpoints
Chic Point imagines and interrogates “fashion for Israeli checkpoints.” Set to a rhythmic beat, men model original designs where zippers, weaved nets, hoods, and buttons serve a unifying theme of exposed flesh. Body parts (lower backs, chests, abdomens) peek through holes, gaps, and splits woven into readymade silk and cotton tshirts, robes, and shirts. As the sights and sounds of the catwalk dim, the viewer is transported to the West Bank and Gaza. Stills display men traversing the violent and ubiquitous Israeli checkpoint. One after another lifts shirts, robes, and jackets some kneel shirtless, others naked, with guns pointed at their exposed flesh. Chic Point brings these locations together in a reflection on politics, power, aesthetics, the body, humiliation, surveillance, and chosen versus forced nudity
The Children of Ibdaa:
to create something out of Nothing
Director: S. Smith Patrick Type:Documentary Year:2002 Time:29 minutes
The Children Of Idbaa: To Create Something Out of Nothing is about the lives of several adolescents in a Palestinian children’s dance troupe from Dheisheh refugee camp in the West Bank. They use their performance to express the history, struggle, and aspirations of the Palestinian people, specifically the fight to return to their homeland. Through interviews and documentation of the children, the video offers insight into their families’ displacement from their villages in historical Palestine, the physically and emotionally stressful aspects of life in a refugee camp, and the unique experience of participating in the politically motivated dance troupe. The story culminates in a visit by the children for the first time to demolished villages from which their grandparents were expelled in 1948. The majority of the footage was shot in digital video. Super 8 film, slides and photo stills in both black and white and color texturally enhance the digital video imagery. Archival prints donated by the United Nations Photo Archive in Gaza are also used. This intertextural aesthetic is important in defining varying spaces and time. The film offers a distinct perspective for those who are well versed on the greater political subject and is an educational piece for those who know little on the topic of the Palestinian refugees. No other film exists about these unique adolescents and their creative, conscientious, and peaceful contribution to the international dialogue that shapes their lives. The name of the dance troupe, ‘Ibdaa,’ translates from Arabic as ‘to create something out of nothing.’ It is a sentiment the troupe founder feels captures the vibrancy and strength of the dance troupe against the oppressive backdrop of its members’ origins and life in Dheisheh refugee camp. Through their performance, the members of Ibdaa bring the perspective of Palestinians to the attention of the Western communities that they visit. Ibdaa’s use of traditional debke dance perpetrates the Palestinian culture while they creatively and non-violently address a brutal political reality. This film is available with a Digital Site License (DSL), which allows colleges, universities, or libraries to encode, locally host, and stream the film to their community on a closed, password-protected system.
Children of Shatila
More than 350,000 Palestinian refugees live in Lebanon, 15,000 of them in the refugee camp of Shatila in Beirut. Through the eyes of two children who live in this camp, Issa and Farah, this documentary explores the determination to keep family and dreams thriving in a landscape that has been sculpted by war, poverty, grief and displacement. Issa, a little boy who lives with his grandfather, sustained severe injuries when he was hit by a speeding car and has trouble learning in school. Farah lives with her parents and two sisters. The children’s memories and history are shaped by the violence that surrounds them. Both have lost family in the massacres and attacks that followed the 1948 Diaspora and the 1982 invasion of Lebanon by Israel. An aunt was decapitated, an uncle shot — every family and friend they know has lost someone to the violence. The filmmaker gives Issa and Farah a small video camera to film their lives and learn how they see their own world. Both children start asking their elders how they felt about leaving Palestine. When queried about what he wants to tell the new generation of Palestinians, an old man asks that Palestine must never be forgotten. “Promise me that,” he tells the children. The poverty of Shatila offers little escape. Farah’s mother says that when her children tell her their dreams she feels “awkward and afraid to shock them with the truth,” and wonders about the kind of future that lies ahead. Yet both children inspire viewers with their ability to keep their hearts and minds open. Farah tells a nursery class, “Imagining is the main thing, even if you only draw a bird.” And Issa has a wonderful dream where he is a prince. While the focus is on the lives of children, this documentary is not suitable for younger children. It is appropriate for mature young adults, and university and community audiences interested in learning about the Israeli-Palestinian conflict, life in the refugee camps, and the lasting effects of war. Released in 1998. te zien op: www.youtube.com
About the Director: MAI MASRI is a palestinian filmmaker who has directed and produced many award winning films that have been broadcast on more than 100 television stations around the world. She earned her Bachelor’s degree in film from San Francisco State University and together with her husband, filmmaker JEAN CHAMOUN produced a series of films that have won over international awards.
Yasin Erik Bognar
In the besieged city of Ramallah, a father and his daughter are both faced with choices. Choices that can provide hope and salvation for both… providing they are prepared to accept the consequences. The Choice is a beguiling short in which father and daughter are each compelled to choose how to deal with grief.
Chronicles of a disappearance
Chronicle of a Disappearance The film features no real storyline or character arc. Suleiman plays himself returning to West Bank after a long absence which is followed by a series of barely connected vignettes and sketches, which are intended to convey the feelings of restlessness and uncertainly from Palestinian statelessness. The film’s tone varies through these scenes such as “Nazareth Personal Diary”, which has a light and domestic tone, and “Jerusalem Political Diary”, which has a more ideological tone.
Chronicle of a Disappearance was Suleiman’s first feature film. It has received international critical acclaim “53rd Venice International Film Festival” 1996. www.youtube.com
Tim Schwab 2014 | Documentary | 79 min
“What does it mean to be a Palestinian filmmaker in the context of national struggle?” Cinema Palestine asks how “Palestinian cinema” has been understood by prominent directors.
Canadian filmmaker and academic Tim Schwab’s feature-length documentary explores the life and work of several generations of Palestinian filmmakers. Cinema Palestine presents excerpts from signal works alongside in-depth interviews with directors living in the Middle East, Europe, or North America (including Hany Abu-Assad, Azza el-Hassan, Sobhi Zobaidi, Mai Masri, Tawfik Abu Wael, Annemarie Jacir, and many more). Despite their diverse biographical experiences and their varying artistic or political concerns, are these filmmakers expressing a particular ‘national’ cinema?
Cinema Palestine is a poetic documentary project exploring the emergence of a Palestinian cinema in recent years, and documenting the similar and differing conceptions of land and space in Palestinian cinema. Zie voor: https://vimeo.com/2464775. (Please note that this clip for CINEMA PALESTINE is a short assembly of raw footage designed to give a sense of the larger film. This being the case, the color correction, sound and subtitles were used for purposes of this clip and will be upgraded in the final cut. Also, excerpts from the films of the Palestinian filmmakers have been ‘slugged’ from DVD footage, and will be replaced by original quality footage in the final work)
Zie verder de website: cinemapalestine.wordpress.com
Yearning to leave behind his life of misfortune in the Middle East, Ibrahim Jarrah wins the U.S Green Card Lottery for a chance to become an American citizen. Ibrahim lands in New York City the day before 9/11, the events forever shape the struggles he faces on his journey to capture the American dream.
For 21 days, a woman is imprisoned in her apartment during the Israeli invasion of Ramallah in 2002. Besieged by terrors, her inner demons surface as shelling and bombing rages outside, while inside she wages an emotional war with a relationship gone wrong. The Clothesline contrasts scenes of domesticity with warfare, ferocious battles beyond with emotional struggles within all the while, her laundry hangs outside…a witness to troubles both inside and out.
Coffee for All Nations
by Wafa Jamil, social docudrama 52 min. Palestine, Sweden, United Arab Emirates, 2016.
In the year of 1948, Abed and his family were forced by the Israeli army to abandon their home in (Al-Walaja) village near Bethlehem and move to Dheisheh Refugee Camp. Resilient, Abed decides to go back to his land and live in a Kanani cave that he discovers until the end of his life.
He plans to turn his new home into a coffee shop and transform his own tragedy into a project that will provide him an income and allow him to share his one true possession and a stunning view.
Abed’s brother, who spent 30 years at an Israeli prison was released. Despite of the good news, Abed was devastated by the Israeli demolishment of his 5000 years old cave!
Coffee for All Nations is a story of hope and resilience, presenting a fresh backdrop to the injustices caused by war and occupation.
van Joseph Dorman en Oren Rudavsky, documentaire / 2015 / 134 minuten
Een film die een van de meest explosieve issues van deze eeuw uitpluist- Zionisme en het Israelisch-Palestijnse conflict. De film stelt veel vragen in de zoektocht naar de oorsprong van de droom van de Joodse staat en de impact daarvan op de Joden en Arabieren in de regio – vanaf de 19e eeuw tot aan het moderne Midden Oosten. Verteld middels de verhalen en stemmen van Joden en Palestijnen van nu, verweeft Colliding Dreams het verleden en het heden, ideeën en passies, oorlogen en vredesbesprekingen. Een kritisch, respectvol, eerlijk en zoekend filmportret van het verhaal van Zionisme en haar controversies. www.youtube.com
The colour of olives
Like many Palestinian families, the Amers live surrounded by the infamous West Bank wall. Their daily lives are dominated by electrified fences, locks and a constant swarm of armed soldiers. With its sensitive direction, The Colour of Olives allows us into the private worlds of all eight members of the family. As their dramas unfold we catch a glimpse of their constant struggles and the small, endearing details that sustain them: school friends, olive trees and the two small donkeys. The story of the Amer family offers its audience an opportunity to reflect on the effects of segregation and the meaning of borders. www.youtube.com
Common State, potential conversation
Eyal Sivan, docu 123 min. 2012-13, Israel/USA
As the so-called solution of “two people – two states” in Palestine-Israel is dying a slow death in the face of escalating racism and ongoing colonization and repression by Israel, Eyal Sivan’s new documentary film, shows a cinematographical encounter between Palestinian Arabs and Israeli Jews. Twenty interviews were carried out on the theme of the common state with politicians and settlers, legal experts and artists, Ashkenazi and Sephardic Jews, Palestinian Arabs in Israel and in the occupied territory. The interviewees respond to the same questions in their mother tongue, and the screen is split into two, with an Israeli Jew and a Palestinian in parallel, one listening and one talking, thereby enacting a meeting point between two realities that are fragmented and separated from each other in daily life.
(NB deze Winner of the Juliano Mer-Khamis documentary Prize is wel iets ouder
maar nog erg actueel + interessant!!!) www.youtube.com
Concern in the East
“Concern in the East.” The latter film revolves around a group of friends in the city of Jerusalem and the difficulties they face. “Concern in the East” opens the day before the trial of HYPERLINK “http://encyclopedia.thefreedictionary.com/Abu+Daoud” Abu Daoud and exposes through fiction the reality that Jerusalemites face in daily conflict with the policies of occupation.
The Concrete curtain
Following his 2004 film “The Wall”, Brunner’s documentary focuses on the impact of Israel’s expropriations for and construction of the West Bank wall as it encircles and carves apart integral parts of Palestinian East Jerusalem. Based on interviews with residents of Bethlehem and Abu Dis, the film shows how Palestinian daily life is affected by new geographic and jurisdictional realities imposed upon the historical capital and its residents. www.youtube.com
Ahmad & Mohammed Abou Nasser France 2013 fiction 15 min.
Synopsis: “Cast Lead,” the name of the 2009 offensive against the Gaza Strip, alone tells of its brutality. So does the siege’s duration: 22 continuous days. Terror and despair, the universal reaction to conflict situations, seize the population. Unable to move, people are plunged into an unbearable oppression of forced resignation. Caught in the net of such brutality, the first instinct of a human being is to eat, stay warm, secure a source of light. Banal gestures in the return to life’s most urgent needs and necessities, the search for physical and psychological safety and equilibrium.
In the heat of war, do we make love? No, this quest for for tenderness, this fundamental communication, the sexual instinct is suddenly cut off. The marriage bed becomes a kind of no man’s land. Any attempt to make love is a vain act of resistance to the fear over when the next bomb will hit. Aircraft, missiles, tanks – their defeaning noise, their ground-rocking explosions – will in the end colonize both body and soul. War machines will triumph over human will. Right when we need the healing power of intimacy the most, love and desire become balloons just waiting to be burst.
What condom can protect against this?
Nominations: Nominated Palme d’Or, Best Short Film, Cannes Film Festival 2013; Nominated Muhr Arab Award, Dubai International Film Festival 2013; Nominated Short Grand Prix, Warsaw International Film Festival, 2013. www.youtube.com
Marcus Vetter / Michele Gentile 2013 docu Duitsland/Zwitserland 88 min.
Inkijkje in het drukke leven van de eerste hoofdaanklager van het Internationaal Strafhof in Den Haag, Luis Moreno Ocampo. De filmmakers volgen hem tijdens voorbereidingen op het proces tegen de Congolese rebellenleider Thomas Lubanga, luisteren mee als journalisten hem interviewen, schuiven aan voor lunch met actrice Angelina Jolie en vergezellen hem op bezoek bij een Libische minister, na de val van kolonel Gaddafi.
Luis Moreno Ocampo, de eerste hoofdaanklager van het Internationaal Strafhof (ICC) in Den Haag, heeft het mandaat om wereldwijd oorlogsmisdaden te onderzoeken. Filmmakers Michele Gentile en Marcus Vetter volgden hem zes jaar lang. Ze reizen met hem mee naar Libië als arrestatiebevelen worden uitgevaardigd voor Saif Al-Islam Gaddafi. Ook leggen ze vast hoe de onderhandelingen verlopen met een Palestijnse delegatie in Den Haag over de mogelijke erkenning van Palestina als staat door het ICC. Dit is een voorwaarde voor de vervolging van Israël en Hamas voor oorlogsmisdaden tijdens de Gaza-oorlog. Portret van een gepassioneerde hoofdaanklager, een jong instituut en de soms moeilijk te begrijpen wereld van politiek en internationale berechting. Moreno Ocampo en zijn collega’s zijn vastbesloten hun idealen in praktijk te brengen door wereldwijd een eerlijke rechtsgang te stimuleren.
Gesproken taal: Engels
The Cup Reader
by Suha Araj
Warde, shamed as a young girl yet renowned in Palestine for her mystical seeing and matchmaking, lives with her sister Jaleleh and reads the fortunes of her clients. Each woman has made or will make a choice between love and marriage, not having had the luxury of both.
Winner, ‘Next Great Filmmaker Award,’ Berkshire International Film Festival (2013) www.youtube.com