Third Cinema revisited

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Omar, Palestinian territories, 2013.

Posted by keith1942 on July 18, 2014

Omar still

 

This is the latest feature directed by Hany Abu-Assad: he also produced and scripted the film. His earlier feature Paradise Now (2005) concerned suicide bombers against Israel. In this film a young Palestinian involved in resistance is imprisoned by the Israeli’s who set him up to be an informant. One can see thematic parallels between the two films which depict the brutal occupation by the Zionist regime bur which also explore the political and personal problematic of Palestinians involved in their struggle for freedom. This new film is well produced and the story holds one’s attention. It also depicts the violence and repression suffered by Palestinians under occupation. Hany Abu-Assad, who has made several features and shorts, would seem to be a key figure in the construction of a Palestinian National Cinema. That he has chosen to work within the severe restrictions of the occupied Palestinian Territories is expressive of his stance.

My sense was that this new feature is the more conventional film. The Palestinian relationships revolve around a triangle of Omar (Adam Bakri), Nadia (Leem Lubany) and Tarek (Eyad Hourant). These are convincing, as is the key Israeli security character Rami (Waleed F. Zuaiter). Zuaiter). And the film makes good use of the topography of the occupied territories [using Nazareth and Nablus as locations) and in particular the separation [or ‘isolation’] walls constructed by the Israeli’s.  And the operations, both of the resistance group and of Israeli security are convincing. However, the plotting of the personal relationships becomes more conventional as the film progresses and this conventionality shades over into the film’s resolution, especially in the final shot.

One matter that caught my attention was the oddities around the attribution of origin. The National Media Museum listed the Palestinian territories and this designation is also used by the Hebden Bridge Picture House [who screen the film on the 29th and 30th of July]. However Sight & Sound lists‘Israel [Palestine] / United Arab Emirates’. The Press Notes from the distributor Soda do not give a country of origin? In fact the film was nominated by the Palestinian Authority for the 2014 Academy Award for Best Foreign Language Film and accepted by the Academy on that basis. Given the Hollywood’s history of pro-Zionist films this is a welcome change of heart, and bizarrely the Academy appears more liberal than the British Film Institute. The status of Palestinian lands has been a crucial battle in the media and the wider culture. As far as the imperialist  [known euphemistically as the International Community] are concerned they have supported the illegal designation of the lands as Israel. It creeps into cinematic offerings: so The Battle of Britain (UK 1969) before the end credits lists the various groups who were among ‘the few’. And this list includes two whose origin is given as ‘Israel’! That is before the settler regime and its state had even been constituted. It is a sign of the growing support for the Palestinian struggle that there are breaches in this linguistic wall.

It is worth noting that among the other films in that category for 2014 was a feature nominated by Israel, Bethlehem (2013). This film also details the relationship between an Israeli security officer and a Palestinian informant. This is clearly an important aspect of the current struggle.

I actually saw the film at the Vue cinema in Leeds Light. Since this chain no longer produce printer programmes I am not sure if they gave a derivation or what it might have been. However, a couple of other points need to be noted. Omar ends with a several close-ups and then a cut to a black screen. At this point at the Vue the auditorium lights came back up – not gradually on a slider but abruptly. I did have a word with the manager afterwards and pointed out how insensitive this was for any feature, but especially one as important as Omar. The other point I noted was the DCP was sourced from a version with ‘edited credits’, which also seemed a little odd.

 

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2 Responses to “Omar, Palestinian territories, 2013.”

  1. […] the film has only a limited distribution in the UK and some institutions have had problems with attribution. However it is screening at the Hebden Bridge Picture House on the 29th and 30th of August. […]

  2. […] a critique of this type of action. In 2013 another film by Abu-Assad was submitted to the Academy, Omar (Palestine 2013). A young Palestinian freedom fighter agrees to work as an informant after […]

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