palestine – PopCult Reviews

Patreon Pick – Gaza mon amour

This special reward is available to Patreon patrons who pledge at the $10 or $20 monthly levels. Each month, those patrons will pick a film for me to review. If they choose, they also get to include some of their thoughts about the movie. This Pick comes from Bekah Lindstrom.

Gaza mon amour (2020)
Written and directed by Tarzan Nasser and Arab Nasser

The popular image of something and reality are often oceans apart, especially when we in the West conceptualize something. At the time of this writing, Gaza is something beyond decency, brutally ravaged by a genocide that just keeps going in broad daylight. That doesn’t mean life has always been like this for the Palestinians. They have had a persistent resiliency, even while walled off and treated in the most subhuman manner. The human spirit is a tough thing to extinguish. It isn’t impossible, but it can happen. Gaza mon amour is a film about the persistence of the heart in the latter years of a person’s life and how the desire for love lives on.

Movie Review – Gaza Fights For Freedom

Gaza Fights For Freedom (2019)
Written by Abby Martin and Mike Prysner
Directed by Abby Martin

You can watch this documentary in its entirety here. It is age-restricted so I cannot embed it, sadly.

One of the talking points of the pro-occupation crowd is to talk incessantly about 7 October 2023. If you respond by bringing up other relevant dates and incidents that establish a slow-rolling genocide, the counterargument is that they are talking about “right now,” not the “ancient past.” When asked for their justifications of why the occupying force should have any claim in Palestine, they will respond with “evidence” from a dubious religious text by practitioners of the religion this occupying force has appropriated that this is their homeland circa two millennia earlier.

Movie Review – It Must Be Heaven

It Must Be Heaven (2019)
Written and directed by Elia Suleiman

Like most artists, Elia Suleiman has specific elements he wants to continually examine, looking at them from different angles and revisiting images from his past to see if time has changed their meaning. After watching four films from Suleiman, I see how some critics would say he keeps making the same movie to an extent. These movies will always have Suleiman playing some version of himself. The persona he presents will be a nearly silent, deadpan one. The story will be told in vignettes that work in isolation but can also be viewed collectively to make something more significant. Suleiman is playing the Holy Fool and, through that lens, can observe the world in ways the rest of us cannot.

Movie Review – Omar

Omar (2013)
Written and directed by Hany Abu-Assad

I won’t say any more on this, but the ending of Omar is one of the most satisfying conclusions I have ever seen in a film, yet it still leaves a bittersweet taste in your mouth. This is filmmaker Hany Abu-Assad’s first writer/director gig. He’d previously directed but co-written with one or more people. While not having seen that much of his work, the breakout film Paradise Now has always resonated with me. I was curious to see what story he had to tell after such an intense character-focused narrative. Once again, we get another narrative about a young Palestinian man caught in difficult circumstances, his friendships being challenged, and a moment hurtling toward him where he must make a decision that will shape the rest of his life going forward.

Movie Review – 5 Broken Cameras

5 Broken Cameras (2012)
Written by Guy Davidi
Directed by Emad Burnat and Guy Davidi

Individualism is undoubtedly the mindset in which all Western thought appears to emerge. I’m a big believer that we’re actually a collectivist species forced into these systems, which explains the astronomical rate of people with mental illness worsening. Mental illness occurs regardless of what systems we are under, but it is hugely aggravated under ones that tell sick people they must care for themselves. This way of thinking has led to a common refrain among reactionaries that if individuals simply complied with the demands of hierarchies of power, they would not be harmed. This, of course, ignores that these same hierarchies perpetuate harm as part of their very nature. We are asking people to endure increasing levels of harm so we don’t have to wrestle with our role in these systems, and that will never lead to a solution.

Movie Review – The Time That Remains

The Time That Remains (2009)
Written and directed by Elia Suleiman

Filmmaker Elia Suleiman tells all his stories through an autobiographical lens. I imagine it can feel overwhelming to tell the story of the Palestinians when you are one of them, especially when multiple experiences are happening at once within the occupied territory. You have the Palestinians of Gaza, the Palestinians of the West Bank, and those who live outside these two yet are still not free. Suleiman presents himself and many of his characters in his work as cold & distant from what is happening. To be in the torment your people have endured for decades just isn’t something that a person can be expected to walk away from with their sanity intact. The camera is another distancing tool and film tropes, too. They allow a person to examine something painful without needing to be directly inside of that pain.

Movie Review – Salt of This Sea

Salt of This Sea (2008)
Written and directed by Annemarie Jacir

One aspect of the Palestinian struggle that I realize I can only intellectually connect with is the connection even those in the diaspora have to the land of Palestine. I can’t say I’ve ever felt a meaningful connection to any place I’ve lived that I couldn’t sever when leaving. I also don’t feel much of a connection to my murky ancestry going back to Ireland, as being a white person in the States means any semblance of cultural roots I have were forfeit for the glorious privilege of strip malls and fast food. So, my understanding of the themes in this film was less emotional than I might have liked, but I get why. This is an experience I just cannot have, but that doesn’t mean I cannot learn something from listening.

Movie Review – Paradise Now

Paradise Now (2005)
Written by Hany Abu-Assad, Bero Beyer, and Pierre Hodgson
Directed by Hany Abu-Assad

It was once said that the suicide bomber was the “poor man’s atomic bomb.” There’s an immediate revulsion many of us in the West have when we see stories or hear about suicide bombings. I think it’s the intimacy of the act. Rarely do you see talking heads on the news react so strongly to stories of drone bombings or Western airstrikes. The suicide bomb seems to be an outgrowth of the act of self-immolation, the act of setting oneself on fire as a form of protest. The argument against suicide bombings has been that they kill many innocent bystanders. I would refer again to the formalized attacks on civilian populations by the West that are not held to this same standard. Paradise Now is the story of a suicide bomber and seeks to understand why a person would feel as if they have no other options to be heard.

Movie Review – Divine Intervention

Divine Intervention (2002)
Written and directed by Elia Suleiman

Santa Claus runs across a hill near Nazareth in a panic. He’s pursued by a gang of knife-wielding youths. He runs out of steam. They catch up with him. Everything moves so quickly. Santa looks down. The hilt of the knife extends from his chest. He stumbles back. Collapses. That is how Elia Suleiman begins Divine Intervention, another of his vignette comedies. Is this a heavy metaphor about Western culture being driven out by the Palestinian youth, a shocking, dark comedic scene to grab the audience’s attention, or both? My answer is yes.

Film 2009 #20 – Waltz With Bashir

Waltz With Bashir (2008)
Directed by Ari Folman

In 1982 Israel invaded Southern Lebanon, citing an assassination attempt on their U.K. ambassador as the impetus. The conflict brought them up against the PLO, Muslim Lebanese forces, and Syrians. Working with the Israelis were the Lebanese Phalangists. The Phalangists claimed secularism but are mainly supported by Maronite Christians, a sect of the Catholic Church founded in Syria in the 7th century. This mad cluster of forces came together for a bloody war that increased in intensity with the assassination of Lebanese president Bashir Gemayel. The Phalangists, incredibly loyal to Bashir, culminated the war with the Sabra and Shatila massacres, where Palestinians families were bombed and those that survived the bombing where then lined up against walls and executed by firing squad.

This is the waking nightmare Ari Folman finds himself sinking into. The film begins with a meeting in 2006 between Ari and a friend. The friend has begun having horrific dreams about his participation in the 1982 First Lebanon War. This pushes repressed memories of Ari’s participation into the fore of his consciousness and the movie unfolds from there. Ari learns through interviews with friends he served with about what happened during their tour and how they were complicit in the Sabra and Shatila massacres. Ari has a recurring vision of three naked young men emerging from the water at night and walking towards the shore where an urban landscape is lit by flares, falling like stars from the sky. Once in the city they find themselves overcome by screaming grieving Palestinian women. In the climax of the film Ari has finally sorted these memories out and we see what really happened and why he is haunted by these images.

What sets Waltz With Bashir apart from a standard documentary or war film is that it is made from a combination of standard cel animation, 3D computer animation, flash animation, and rotoscoping (animating over live action film). This allows director Folman a freedom that his small budget would not have allowed for a live action film. Complex battle scenes are recreated with ease but also without losing their weight and depth. The animation also aids in creating the nightmarish tone Folman wants to wash over us. If the roots of this war don’t come across in the film, that is intentional. We’re seeing the events from the eyes of a 19 year old boy who doesn’t understand what is happening other than it is his legal duty as a citizen of Israel to serve in the military. The film is a definite descendant of Apocalypse Now, even paying homage to that masterwork with a scene of lounging soldiers on the beach including one surfing as bombs fall.

There are so many scenes that create a sense of the bizarre and senseless. One soldier recounts becoming sick to his stomach over the side of a boat the night before the invasion. After the young man blacks out, he dreams of a giant naked woman swimming to the boat, cradling him in her arms and swimming away with him as his unit is bombed. In another scene, a soldier recounts the slaughter house the Phalangists created from the Palestinians they slew. The camera is low to the ground as we float across dead earth littered with rotting gnarled trees, corpses, and eyes and ears floating in formaldehyde jars.

Waltz With Bashir is a very timely film during this current incarnation of the Israeli/Palestinian conflict. It reminds us that it’s not the men on the ground on either side for us to blame, but the men at the top who give the orders and expect mindless allegiance whose hands are drenched in blood. It was reported that this film received a 20 minute standing ovation at the 2008 Cannes Film Festival. Ari Folman won a 2008 Golden Globe for this film and in his acceptance speech mentioned that over the course of making it eight babies were born. He said he had a particular hope for those eight children: “I hope that one day when they grow up that they watch this film together and they see the war that takes place in the film like an ancient video game that has nothing to do with their lives whatsoever.”