Cinema Palestina 15

Cinema Palestina (j)
Jaffa: The Orange’s Clockwork

Eyal Sivan 2009 docu 86 min.
Jaffa: The Orange’s Clockwork is the new film by acclaimed documentary filmmaker Eyal Sivan (Route 181: Fragments of a Journey in PalestineIsrael (with Michel Khleifi), The Specialist, Izkor: Slaves of Memory). The film is a political essay excavating the entwined visual and political histories of that famous citrus fruit originating in Palestine and known worldwide as the “Jaffa Orange”. While this orange has been translated into a symbol of the Zionist enterprise and even the state of Israel, for Palestinians it remains a powerful symbol of the loss and destruction of their homeland. By exploring the visual history of this brand, the film reflects on western fantasies related to the ‘Orient’ and ‘Holy Land’. It asks after the brand’s attachment to the state of Israel and unveils an untold story of what was once a communal symbol and industry shared by Arabs and Jews in Palestine. Visually captivating and politically bold, Sivan’s latest weaves a tapestry of archival material and interviews, ultimately asking what the Jaffa Orange’s past might offer for the future in Palestine/Israel.

Jasmine Necklace

by Qamar Shbaroo – Nablus
The film tells about the tradition of Palestinian women in the Turkish bath and about a famous tradition of the monthly meetings of the Palestinian women in Nablus called “Saloon’s receptions”. that remained until the eighties.
Compilatie van shorts op youtube: Palestinian Women’s Oral History (2016 of 2017) V

Jawhar al Silwan
Najwa Najjar 2001 docu 45 min.
Najwa Najjar (Yasmine’s Song and Naim and Wadee’a ) structures this oral history investigation on Jerusalem around three turbulent periods in Palestinian history 1948, 1967 and 2001. Prompted by her curiosity about the boarded up and decaying remains of the city’s Al Hambra cinema, the director embarks on a journey into the city’s past using interviews and a fascinating collection of archival materials to bring the cinema back to life and, through it, a Jerusalem now inaccessible to most Palestinians. Once a city with a thriving middle class and host to the nation’s major cultural institutions, the Jerusalem the film brings to life seems at times as removed from today’s grim realities as the larger than life screen stars of eras go by which appear throughout the film.

The Judge
by Erika Cohn, documentary 81 min. USA, Palestine 2017. Arabic, Engl. Subtitles

There are many stories about what it is like to be a woman in Islamic society; but just one story about what it is like when a Palestinian woman becomes the first female sharia law judge.
Kholoud Al-Faqih has never hidden her ambitions. But when she became the first female sharia law judge in the Islamic world, her life took a new turn. No other woman has ever been able to make it so far in a highly patriarchal society. Her work opens a discussion in Palestinian society about equal access to education, gender-based violence and systemic discrimination. Kholoud is a relentless fighter not only for her own rights, but also for the rights of those whose voices are not heard. This film portrait offers a valuable insight into the world of traditional Islamic society and the changes it is currently undergoing.

Jenin, Jenin

Mohammed Bakri 2002 docu 54 min.

Initially banned by the Israeli Film Board and still a source of controversy, Bakri’s documentary bears witness to the aftermath of the April 2002 Israeli reconquest and partial demolition of the Jenin refugee camp. The documentary hears survivors presenting their own testimony and presents an often harrowing portrayal of a Palestinian community responding to trauma. Winner – Carthage International Film Festival – Best Film, 2002.

Jeremy Hardy vs. the Israeli Army

When comedian Jeremy Hardy is asked to visit Palestine and do his bit to solve the world’s longest running conflict, facing the world’s fourth biggest military power is not his idea of a holiday. On the other hand, neither is travelling to Florida to spend Easter with his in-laws. What he doesn’t know , as he arrives in Tel-Aviv a week later, is that he will become one of the most unlikely witnesses to a horrific yet seminal moment in the struggle of the Palestinian people.
Disastrously unprepared, Jeremy suddenly finds himself dodging bullets and running for cover as the realities of life under occupation begin to emerge, and it’s no laughing matter. As the danger mounts and the rubber bullets are exchanged for live ammunition, the courage and determination of those who risk everything to help the Palestinian people is tested, and for the first time, the terrifying life of a human shield is captured on film.
Jeremy Hardy Vs The Israeli Army is a quirky, moving story about the courage and resolve of those who pack their bags for Palestine to stand in the way of tanks and bring an end to the occupation.

Jerrycan Water

by Rabeeha Allan – Jalazon Refugee camp.
The film is about 4 the Palestinian women refugees from different generation and how they managed to survive with all the needs of their families, despite the lack of water in Jalazone refugee camp from the 1948 Nakbah War until today

Compilatie van shorts op youtube: Palestinian Women’s Oral History (2016 of 2017) V

Jerusalem 1948: Yoom ilak, yoom aleik

Leon WillemsTinus Kramer 1998 docu 45 min.

BADIL Resource Center/Leone Film and Video, 1998, 45 min., VHS. This movie covers the events in Jerusalem and in the major villages to the south and west in the period between the 1947 UN Partition Resolution and the first truce between the Arab and Israeli armies in 1948. The film challenges the major myths surrounding the war of 1948 that resulted in Israeli statehood and Palestinian exile. The film aims to explain the historical complexity of the Palestinian Nakba in 1948 and to provide insight into the diversity of Palestinian refugee experiences since then.

Jerusalem Calling

Raed Duzdar 2011 docu 45 min.

Jerusalem Calling is a unique film history of the Arabic section of the Palestine Broadcasting Service (PBS), which operated between 1936 and 1948. Only the second radio station established in the region (after Cairo), the British Mandate authorities prioritised the project, and particularly its Arabic section, as a means of propaganda capable of reaching the Palestinian population at large. However, with its launch on the cusp of the Arab Revolt, and with an increasingly politicised intelligentsia appointed within it, the PBS soon became an arena of tensions and contradictions, as national, colonial, and cultural messaging vied for airtime under the careful watch of a British censor. Made for Palestine TV, Raed Duzdar’s film brings together archive recordings and images with recent interviews conducted with veterans from the station.

Jerusalem on the messenger

Amani al Sarahnah 2009 fiction 3 min.

Shown at the 2012 London Palestine Film Festival as part of “The Spring of Young Palestinian Women Filmmakers”, a programme guest curated by Shashat, the Palestinian film NGO: Jerusalem on the Messenger tells of Faisal, a young man from Hebron who chats with a Palestinian girl living in the Emirates through an instant messenger service on the internet. He pretends he is from Jerusalem in order to hold the interest of the girl, who loves the city. The situation, however, becomes complicated once she asks Faisal for his picture in Jerusalem, a city he has long been forbidden to enter. The film was produced as part of a Shashat training programme for young women filmmakers in which participants were invited to express their visions of Jerusalem as a site of cultural, historical, religious, or personal significance.

Jerusalem, the East Side story

Mohammed Alatar,   Palestine  2007   docu    57 min.

The film documents Palestinian everyday’s life under Isreali occupation in East Jerusalem. It uncovers Isreals policy of judaizing the city in order to gain Jewish majority by driving out Palestinian people from the city. The documentary includes interviews with Palestinian as well as Isreali political leaders, political analysts and human right activists.

Watch full documentary:

Film review: “Jerusalem … The east side story”

Sam Bahour The Electronic Intifada 9 December 2007

Was it sheer coincidence, sad irony, or just another day in Palestine under Israeli military occupation? My father and I drove through the last Israeli checkpoint between Ramallah and Jerusalem while heading to the Palestinian National Theatre at the invitation of The Palestinian Agricultural Relief Committees to attend the premiere of a new documentary on Jerusalem. The car radio switched from music to a news report — a Palestinian home in Jerusalem was demolished that morning by Israeli occupation authorities, leaving yet another Palestinian family homeless. We sighed in disgust but did not comment to one another because there was nothing new to say.

As we entered the plaza of the theatre, we were met by film director Mohammed Alatar. Alatar is known for his outstanding previous documentary, The Iron Wall, which depicts the Israeli strategy of creating facts on the ground — facts that are rapidly precluding a negotiated peace between Palestinians and Israelis.

The theatre was packed. Palestinian Jerusalemites both young and old, staff from the dozens of international agencies based in Jerusalem, donor representatives, foreign representatives, media, and the crew that produced the film were all present. One group conspicuously absent was Palestinians from the West Bank and Gaza. Those from Bethlehem, Ramallah, Nablus, Jericho, Gaza, Rafah, and Hebron are all prohibited by Israel from entering Jerusalem without special permits that are rarely issued. The Iron Wall and Alatar’s new documentary, Jerusalem … The east side story, reveal the policies that aim to Judaize the city and control Palestinian demographic growth. The resulting collective punishment is part of a larger scheme to pressure Palestinians into submission or flight.

Jerusalem … The east side story squeezes nearly one hundred years of history into an hour or so of cinema. It mainly exposes the past forty years of Israeli military occupation policies in Jerusalem and their devastating impact on the city and its peoples.

The producer of the film, Terry Boullata, stated at the outset of the evening that the intention of the documentary is to bring the Palestinian struggle for freedom and independence to a Western audience which has shown by way of its acquiescence to the ongoing Israeli military occupation that it still needs to be educated.

The film kicks off with a rapid-fire montage of a normal day in Jerusalem. The famous Jerusalem sesame-seed round loaf of bread, people from all walks of life, from all religions worshiping God in their own way, the traffic, the city dwellers, the Old City shops, Jewish kids playing, Muslim kids playing, Christian kids playing, and on and on. The montage makes it difficult to decipher who is who. If it were not for a few juxtaposed shots peppered throughout — soldiers, weapons, checkpoints, settlements, arrests, confrontation, Jewish-only settlements, house demolitions, and many other trappings of a military occupation — one could falsely imagine that coexistence and normal life already exists in the holy city.

One at a time, the film picks up on these abnormal scenes — concisely, succinctly, and with a clear effort to maintain accuracy. Before taking on each issue, historical context is presented through archival footage. Some of the shots are from the United Nations hall where General Assembly Resolution 181 to partition Palestine was voted on in 1947; the battles in Jerusalem in 1967, which ended with Israel militarily occupying all of East Jerusalem; and Palestinian refugees streaming over the border to Jordan in order to flee the fighting.

Many Jerusalemites, including Jewish Israelis, tell their story first hand. An especially memorable account is given by Meron Benvenisti, an Israeli political scientist who was deputy mayor of Jerusalem under Teddy Kollek from 1971 to 1978. Benvenisti makes a case for the more than 10,000 Palestinians who were displaced by Israel from West Jerusalem after Israel was created in 1948, and became internally displaced persons while still in their city, forced to the east side.

Another moving personal account is that of a Palestinian woman from West Jerusalem, Nahla Assali, who walks the audience around the home that her family fled in 1948, only to come back after the war to find a Jewish family living in it and a plush Israeli neighborhood replacing her childhood environs. Assali ends her somber account with a sentence that speaks volumes. She says, “We live in fantasy, they live in denial, and one day we should both come to reality.”

Another figure who appears throughout the film to add his insight is the bishop of the Evangelical Lutheran Church in Jordan and the Holy Land, the Rt. Rev. Munib Younan. Rev. Younan speaks with the clarity expected from a man of the cloth and is unwavering in his demand for both a moral and legal compass to pull Jerusalem out of its dangerous disorientation.

Throughout the film, the selection of music is superb. Arabic and English clips take the audience from one issue to the next, but each song is a deep reflection of the issue at hand. One tune that is repeated throughout is “I Still Haven’t Found What I’ve Been Looking For” by the Irish band U2, a relevant choice for anyone looking for peaceful coexistence in Jerusalem in the 21st century.

One of the most effective aspects of the film is how it tackles the issue of house demolitions. The film meticulously explains how the Israeli occupation authorities have administratively installed a system of occupation that is sugar-coated with a legal wrap, but leads to the same end as all the other measures of the occupation: to contain and control Palestinian demographic growth through destroying Palestinian livelihoods and creating a reality that is designed to encourage the Palestinians to choose to leave rather than stay and demand their rights. One young schoolgirl explains how she came home from school one day to find her family’s home demolished by Israeli bulldozers. Her mother recounts how she sat in the rubble waiting for her daughter to return home from school, fearfully anticipating the shock that her daughter was about to experience.

Experts on the subject of house demolitions testify that once a demolition order is issued by the Israeli authorities, the Palestinian home may be demolished in 24 hours or 24 years. The film attempts to depict what a nerve-wracking reality this creates for hundreds of Palestinian families in Jerusalem whose homes are already marked for demolition.

It is explained in bite-size history lessons how Jerusalem was not only conquered by force, but also how the state of Israel took annexed Palestinian land to enlarge the city boundaries in order to block the possibility of a sustainable Palestinian presence in the city. Meshed with this discussion is the most recent manifestation of Israel’s separation policy: the illegal separation barrier, part wall and part fence, that cuts through Palestinian neighborhoods in Jerusalem and leaves Palestinian Jerusalemites in limbo.

Palestinian Authority President Mahmoud Abbas is interviewed and equates the Israeli policy in Jerusalem with that of “ethnic cleansing.” His statement is bound to catch the ear of all those on the Israeli right and in US Congress who would like no better than to label President Abbas a non-partner in peace negotiations, as they successfully did with Yasser Arafat.

Rather than spoil it for the reader, I’ll only say that one of most shocking parts of the film relates to the actions of Jewish settlers inside the walled Old City, in collusion with official Israeli authorities. Viewers with a desire for justice will leave the film with their blood boiling, especially when a cartoonish US President George W. Bush is shown speaking — or rather stuttering — about Israel’s illegal separation barrier and says, “This wall is … uh … a problem …”

Alatar made a few comments following the Jerusalem premiere. He said that he did not make the film so that people would like it, because there is nothing to like about military occupation; but rather he hopes and prays that people will wake up to today’s bitter reality in Jerusalem and do what it takes to bring peace to this troubled city. His remarks echo the conclusion of the film that, instead of taking sides, notes that the ultimate loser in this conflict is the city Jerusalem. The narrator states, “When the stones of Jerusalem become more holy than its people, doesn’t it lose its holiness?” It’s a question well worth reflecting upon.

Sam Bahour is a Palestinian-American living in al-Bireh/Ramallah and may be reached at

Jerusalem(s): the borderline syndrome

Eyal Sivan 1994 docu 64 min.

Sivan turns the camera on Jerusalem in this provocative and lyrical contemplation on the ‘sacred city.’ In searching for a way of ‘capturing’ the city, Sivan encounters a peculiar fetishism that afflicts the site as an object of multiple desires. The film takes its title from a psychiatric condition recognised since the 19th century as suffered by pilgrims and other visitors overwhelmed by Jerusalem and the powerful associations they place upon the city.

Jews step forward

by Elika Rezaee, Marjorie Wright (ook scenario), Israel 2015, docu 112 min.

Jews Step Forward traces a path grounded in Jewish identity, which ultimately separates personal conscience from a socialized mythology loyal to Israel. Open ended policies of torture, imprisonment, and murder of indigenous Palestinians including children, contempt for international norms, and the rise of laws mirroring fascism, all poison any idea of national permanence for Israel based upon peace and regional integration.The subjects of this film speak with the same Jewish voice, which historically led the struggle for justice around the world, cutting through visceral defenses to demand an awakening and a Judaism liberated from Zionism.


John Berger reads Ghassan Kanafani
[full title: John Berger reads Ghassan Kanafani’s “letter from Gaza”]

2008 docu 21 min.

This moving reading was initially prepared for the May 2008 Palestine Festival of Literature. Berger, Booker Prizewinning novelist, cultural critic, and art theorist, is at the forefront of activism on the question of Palestine. He has championed the struggle of Palestinian artists to become heard, bringing new and established Palestinian cultural work to a wider audience and highlighting its vital role in the liberation struggle. In this piece he reads Ghassan Kanafani’s (1936 to 1972) “Letter from Gaza” of 1955. Kanafani’s piece is now considered a classic of his early output in it, he pronounces his commitment to the revolutionary struggle while providing a portrait of Gaza eerily familiar to that witnessed in recent times. Berger’s sensitive and informed reading is complimented by imagery evoking the enduring struggle to which Kanafani devoted his energies and which ultimately cost him his life.

Al Dhakira al Khasba (Fertile Memory)

Khleifi, Michel 1980 docudramaThe first full length film to be shot within the disputed Palestinian West Bank “Green Line,” FERTILE MEMORY is the feature debut of Michel Khleifi, acclaimed director of the Cannes Film Festival triumph, WEDDING IN GALILEE. Lyrically blending both documentary and narrative elements, Khleifi skillfully and lovingly crafts a portrait of two Palestinian women whose individual struggles both define and transcend the politics that have torn apart their homes and their lives.

Journey 110

Khaled Jarrar 2009 docu 41 min.

In this short art piece, we see ordinary men and women placing plastic bags over their feet, pulling their clothing up to their knees, clutching their children to their chests, and setting off down a 110metre tunnel of sewage. This surreal and saddening sight is not staged. Jarrar’s short is shot in one of the few “routes” through which Palestinians try to enter Jerusalem from parts of the West Bank. Shot during the month of Ramadan in a sewage culvert beneath Beit Hanina (a Palestinian neighbourhood of Jerusalem divided by walls and checkpoints), Journey 110 is visually haunted by halfinvisible bodies wading through fetid darkness to reach a distant light at its end. Jarrar reflects on a resonance with the socalled “Journey of Light” associated with neardeath experiences: “The “Journey of Light” is often described as floating upwards peacefully through a long journey of intense darkness toward a narrow entrance in delivering light. It is also a well known leitmotif in film, deployed as a passageway to heaven or “to the other side” for dying or ghostly characters. In my film it is the passage through this 110 meters that distinguishes the ghosts from the angels.”

Journey of a Freedom Fighter

Mohammed Moawia 2014 | Documentary | 31 min
The Freedom Fighter follows Rabi`a Turkman on his journey from armed resistance fighter (as a member of the Al Aqsa Brigades) to cultural resistance fighter (as an actor in The Freedom Theater in Jenin).
Mohammed Moawia  Documentary / Palestine / 2014 / 30 mins
Rabea Turkman goes on a journey from armed resistance fighter to cultural resistance fighter. He joined the armed resistance during the Second Palestinian Intifada, and then at the recommendation of a fellow fighter, decides to join the Freedom Theatre in Jenin Refugee Camp.

The film Journey of a Freedom Fighter follows the late Rabea Turkman on his journey from armed resistance fighter to cultural resistance fighter, as he joins The Freedom Theatre as an actor. Directed by Mohammed Moawia, multimedia coordinator, graphic designer and filmmaker at the Freedom Theatre. In Arabic and English with English subtitles. DCP digital.

A Journey

Lamia Joreige 2006 docu 41 min.

A Journey follows the director’s grandmother, Tati Rose, as her personal story meets the collective history of the Middle East. Born in Jerusalem in 1910, Rose moved to Beirut in 1930 to marry. Her family, among them Aunt Marie her sister, was then forced from Yaffa into exile in 1948, taking refuge in Lebanon. Combining documents, old film footage, photographs, interviews, and narration, Joreige’s film recalls the history and conflicts of the region, while reflecting on time and loss. The director’s “interrogation” of both her own mother and Tati Rose, raises questions about her own political choices, and thus explores the complex relationships between these three women of different generations.

Junction 48

Udi Aloni drama 95 min. 2016 Israël 2016
Recensie in EAJG-Nieuwsbrief van Maaike Hoffer 16-11-2016
Met hoge verwachtingen ging ik naar de film Junction 48 die tijdens het Leiden International Film Festival draaide. Een Palestijnse vriendin in Haifa had mij de film aangeraden omdat “hij van alle films en documentaires die ik heb gezien het beste de situatie van Palestijnse inwoners in Israël weergeeft”. Reden voor mij om naar Leiden af te reizen voor de vertoning. En de verwachtingen werden waargemaakt.
Junction 48 is op het eerste gezicht het romantische verhaal over de Palestijnse hiphopartiest Kareem (gespeeld door Tamer Nafar, een bekende Palestijnse hiphopper in Israël) en de Palestijnse zangeres Manar (beiden uit Lod) die via muziek vertellen over hun situatie en liefde. De film is geregisseerd door de Israëlische regisseur Udi Aloni en mede geschreven door Tamer Nafar.
Dit klinkt zoet. En de film begint inderdaad ook zoet, zo zeer dat ik mij afvraag waarom ik deze film aangeraden heb gekregen. Maar langzamerhand krijgt de kijker een uitgebreid beeld van de moeilijkheden en problemen waar Palestijnse jongeren binnen Israël mee te maken krijgen.
Aan de ene kant is er de collectieve en traditionele Palestijns-Arabische maatschappij. Manar mag van haar ooms eigenlijk niet in het openbaar zingen, en Manar en Kareem kunnen niet echt een intieme relatie hebben.
Aan de andere kant leert de kijker meer en meer over de sociale problemen. Lod is een arme stad, waar joodse en Palestijnse Israëli’s samen maar gescheiden van elkaar wonen. Drugsgebruik en drugshandel is een groot probleem onder met name Palestijnse jongeren. Daarnaast is het moeilijk om een (leuke) baan te vinden.
Dan is er nog de politieke laag. Het huis van de ouders van een vriend van Kareem wordt bedreigd met sloop door de Israëlische autoriteiten. Rechtszaken en andere protesten helpen niet en het huis wordt gesloopt. Wanneer Kareem in Tel Aviv mag optreden in een club krijgt hij te maken met discriminatie, racisme en stereotype beelden van Israëli’s ten opzichte van Arabieren. Het publiek is echter laaiend enthousiast over hun hiphopmuziek, ook al zijn de teksten in het Arabisch en weten ze niet hoe politiek gekleurd die zijn.
Kareem en Manar willen ook het gewone leven van normale verliefde jongeren leiden. In songteksten kunnen zij hun gevoelens uiten en het leven een waas van normaliteit meegeven. Via hun muziek proberen zij niet alleen te strijden tegen de Israëlische restricties en discriminatie, maar ook tegen het geweld binnen hun conservatieve en patriarchale maatschappij die net zo goed een bedreiging is voor hun wens een onafhankelijk leven te leiden.
Op een knappe manier wordt een goed verhaal gecombineerd met kunst en met een politieke en maatschappelijke boodschap. Ik ben dan ook niet verbaasd als mijn vriendin vertelt dat de gemeente Karmiel, een joodse stad in het noorden van Israël, op aandringen van een gemeenteraadslid van Het Joodse Huis een vertoning van de film in de stad verbiedt Israeli City Bars Screening of Film About Israeli-Arab Coexistence’). Het raadslid legt uit dat Karmiel in een door Joden en Arabieren gedeelde regio ligt waar het niet nodig is om onnodige spanningen te creëren. Ik zou het raadslid aanraden om de film eerst eens te kijken, want er wordt ook vanuit verschillende perspectieven een realistisch beeld naar voren gebracht.

Just a Child

by Mohammad al-Azza 2012. Arabic/English. 13 min, Country of origin: Palestine
This is a film about a fourteen-year-old boy, Raghd, who lives with his family in Deheisheh Refugee Camp, in Bethlehem, the West Bank. The Israeli army arrested him close to a checkpoint on the outskirts of the city and sentenced him to administrative detention. His arrest left an absence in his house, in his school, and in his community. After the period of administrative detention ended, his family prepared for his release, bringing banners and preparing a celebration for his family and friends. But the day of his expected release came and went. Each week, the International Committee of the Red Cross, which is in contact with Palestinian political prisoners, announced he would be freed, but each week he remained behind bars. After nine months, he was finally released. His friends and family celebrated his freedom with tears, dancing, sweets, and kisses. He became an advocate for children’s rights, speaking about prisoners’ issues. But Raghd’s return to the community was not easy. He continued to feel anxious and isolated. He often stayed in his room, saying, “It is like when I was in prison.” He was re-arrested six months later, accused of throwing stones. Through the eyes of one family, this documentary shows the effects that political imprisonment has had on generations of young Palestinians.
14-year-old Raghd is being released from a 9-month administrative detention in an Israeli prison in the West Bank. His family celebrates, but Raghd’s reentry to the community is not easy, and he continues to feel anxious and isolated. Through Raghd’s eyes, we come to appreciate the enormity of the impact of political imprisonment on generations of young Palestinians and those who love them.
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Just forbidden

Fadya Salah al Deen 2011 fiction 5 min.

Shown at the 2012 London Palestine Film Festival as part of “The Spring of Young Palestinian Women Filmmakers”, a programme guest curated by Shashat, the Palestinian film NGO: Just Forbidden explores one twelve–year–old girl’s transition into adolescence, focusing on the conflicts that emerge with her parents during this period of dramatic change in her life, and even in her appearance. The film was produced as part of a Shashat training programme for women filmmakers, with support from the Italian Ministry of Foreign Affairs – Italian Cooperation.

Just Play

Dimitri Chimenti  Documentary / Italy, Palestine / 2012 / 58 mins
This film is not about occupation; it is not about the conflict; it is not about music. These are all elements of the story, but the film is about something else. It is about a group of men and women working with Al Kamandjati, a Palestinian Cultural Association conducting a program of music education in the West Bank. This picture is about them and their difficulties in transforming music into a means of freedom and liberation.

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