Off Frame, AKA Revolution Until Victory is Mohanad Yaqubi’s study of the films produced by the Palestine Film Unit of the PLO in the 1960s and 1970s. These films reflect a primary concern with self-representation for the Palestinian people and their struggles for self-determination. Unearthing films stored in archives across the world after an unprecedented search and access, the film beings with popular representations of modern Palestine and traces the works of militant filmmakers in reclaiming image and narrative through revolutionary and militant cinema.
This documentary tells the story of the establishment of Israel as seen through the eyes of the people who lived it, with the aim of enhancing global understanding of what happened 1948. It is also the last chance to hear first-hand accounts of what took place in Haifa, Jaffa, Dayr Yasin, Acre, Jerusalem, Ramle and Lydda from the Israelis and Palestinians who personally fought in and fled from this land, including interviews with veterans, refugees, survivors and historians of the war collected in Palestine, Israel, Jordan, Lebanon, the United Kingdom, Canada and the United States.
Two Blue Lines provides an unswerving examination of the human and political rights situation of Palestinian people living under Israeli rule. The documentary, shot over a period of twenty five years in Israeli occupied Palestinian territory, presents Israeli narratives of the Palestinian experience from the 1930’s to the present that are seldom heard outside of Israel.
On the surface Speed Sisters is about the first all-woman race car driving team in the Middle East, but it is about far more than that. Following the contests, friendships, and lives of the five team members, this documentary dispels many misconceptions about Palestinian social life under occupation, particularly in its portrait of the younger generation, and most importantly, in what it captures of the agency of women within this matrix.
This feature-length documentary explores the concept of Palestinian cinema produced by an effectively stateless people. Cinema Palestine combines in-depth interviews with directors including Hany Abu-Assad, Azza el-Hassan, Sobhi Zobaidi, Mai Masri, Tawfik Abu Wael, Annemarie Jacir, and many more, along with excerpts from their films.
Composed entirely of footage from Israeli and American fiction features shot in Jaffa from the 1960s to the 1990s, Aljafari removes the Israeli actors to give the stage to people who appear by chance in the background, including both Palestinians and Iraqi Jews who were settled in the city. In so doing, he performs what he calls “cinematic justice” to the people who were made to appear as extras.
Set in a women’s hair salon in Gaza during a confrontation between the police and a local gangster, effectively trapping the women inside, Degrade blends caricature and reality to emphasize the complexity of life in Gaza where people are afflicted by multiple nodes of pressure and the social space of women is increasingly circumscribed by these pressures.
The film follows an elderly couple, Yousef and Amna, in their final stand-off with Israeli authorities to keep their rustic home, a shack in the Roshmia valley in Haifa. A friend encourages them to leave and works to secure municipal compensation for the couple, but tensions grow between Yousef, who refuses to leave his home, and Amna, who seeks to move on.
On the Bride’s Side records the 2013 journey of five undocumented Syrian and Palestinian refugees who end up in Italy fleeing the war in Syria, and with the help of the filmmakers, continue on from Milan to Stockholm where they seek to attain political asylum. The refugees and their supporters travel as a fake wedding party complete with a bride in a white gown, hoping to avoid detection and arrest.