Reviews

Book Review: Sabra and Shatila 1982

Victor Kattan 21 May 2005


Day and night, for three days in September 1982, a massacre took place in Sabra Street and Shatila refugee camp in a popular residential area of Lebanon’s capital Beirut. Even today, few people are aware of the scale and extent of the killings that took place for 43 consecutive hours some 23 years ago. Palestinians were the target of this massacre, but they were not the only victims. Arabs of other nationalities, Turks, Bangladeshis and Iranians were also killed in their homes, in the streets, or marched to Sports City where they were shot in hastily-dug death pits. 

Film review: "Rainbow"

Jenny Gheith 30 April 2005


“Hearing is not like seeing and seeing is different from living the experience,” reflects Shehada’s mother about life in Rafah. And for a week in May 2004, that experience worsened as Israeli forces pushed forward with “Operation Rainbow,” killing 45 Palestinians, 38 of them civilians including nine children. “The only thing we can do is pray to God.” This overwhelmingly distraught sentiment runs throughout Shehada’s newest documentary Rainbow (2004), which examines first hand the devastating effects of the events of May 13-May 20th. However, this film is not a documentary in the traditional sense — from the perspective of an outsider looking in. 

Film review: "The Eternal Dance"

Jenny Gheith 2 May 2005


The Eternal Dance (2003), the second film directed by noted Palestinian actress Hiam Abbas (Satin Rouge, Door to the Sun), is the beautifully poetic story of coming to terms with the loss of a loved one. Just shy of thirty minutes, each short scene commands heartfelt performances that tenderly reveal the emotion that death leaves in its wake. While on the surface the plot is simple, The Eternal Dance reveals itself to be much more. The Eternal Dance at times feels more like a stage play than a film, but this is not a bad thing. Every suggestive movement, silence and gesture builds to create an unforgettable film dealing with a highly significant subject. 

Film review: "Curfew"

Jenny Gheith 1 May 2005


It begins ordinarily enough — kids play soccer, people walk freely about the streets, and a mailman delivers letters from afar. This is Gaza in 1993, before the Oslo Peace Accords, and the setting for Curfew (1993), which was written and directed by Rashid Masharawi. “Always the same refrain. Tomorrow is another day and after that comes another day. And what will happen today?” Unfortunately, this day freedom will transform into restriction as Israeli soldiers call for a curfew that confines the Palestinian inhabitants to their homes; a restriction due to the ongoing occupation. 

Film review: "Land of '48"

Jenny Gheith 28 April 2005


A map abstractly records places, borders, and distance through line and shape. However, as a group of Palestinian refugees gather around a map that depicts Palestine before the Nakba, or the expulsion of 750,000 people from their lands and homes, these dots and letters do much more than just describe a location. They trigger memories of a land they once called home. Barrack Rima’s aptly titled documentary Land of ‘48 (2003) explores this deep connection to place through interviews conducted with refugees living in Lebanon, Syria, Jordan, the West Bank, and the Gaza Strip. 

Film Review: "Soraida, A Woman of Palestine"

Jenny Gheith 26 April 2005


Soraida, A Woman of Palestine (2004) is an outstanding documentary by Egyptian-born Tahani Rached. Rached, who has directed many documentaries that focus on the condition of women in the Middle East, compellingly turns her camera on Soraida Abed Hussein and her close circle of friends and family who live in Ramallah. Throughout, we casually observe the lives of these close-knit neighbors while they recall memories (at times even re-enacting them for the camera), discuss current events, and openly expose their fears and hopes, all while going about their daily activities. 

Film review: "Another Road Home"

Jenny Gheith 2 May 2005


At some point in our lives, we grapple with understanding our childhood relationships and seek to find answers to unresolved familial ambiguities. This is exactly what Israeli-born Danae Elon chooses to document in her honest film Another Road Home (2004). While Elon’s search focuses on finding one man, Mahmoud “Musa” Obeidallah, the Palestinian caretaker who helped raise her for twenty years of her life in East Jerusalem, her subsequent film openly exposes a unique side of Palestinian-Israeli relations. 

Film review: "Sense of Need"

Jenny Gheith 21 April 2005


Sense of Need (2004) begins simply enough with the main character narrating his life for the viewer. Almost switched at birth with a red-haired Jewish boy, Palestinian Joseph was born while Israel was at war with Egypt. At the age of seven his father bought him his first piano and then “began his life in color.” At first one might take this as purely a poetic metaphor, but this is not the case in newcomer Shady Srour’s psychologically complicated and loosely autobiographical plot. Srour, a man of many talents, wrote, directed, and produced his first full-length feature film. He also portrays the protagonist Joseph, a twenty-seven year old aspiring musician who lives in San Francisco and is just a week away from finishing his masters degree. 

Film review: Door to the Sun

Jenny Gheith 17 April 2005


Bab el Shams (Door to the Sun) is the most recent cinematic achievement from Egyptian director Yousri Nasrallah. Adapted from the novel by Lebanese writer Elias Khoury, this ambitious film takes on the weighty goal of covering roughly fifty years of Palestinian history, from 1943 to 1994, and centers around the lives of a group of Palestinian refugees. EI film critic Jenny Gheith writes that Nasrallah succeeds in his large-scale recreations of demanding passages in Palestinian history while infusing intimate scenes with a nuanced tenderness. 

Review: "Made In Palestine" exhibit

Rob Eshelman 12 April 2005


The contest between occupation and self-determination, history and erasure establishes the subject for the first contemporary exhibition of Palestinian artwork in the United States. Fittingly, and perhaps a bit defiantly, the show is titled Made In Palestine. The exhibition — on display from April 7th through the 21st at the SomArts Cultural Center in San Francisco’s South of Market district — is a collection of works from twenty-three artists, most of whom currently reside in Palestine. Included in the exhibition are two-dimensional works on paper or canvas, photos and sculpture, as well as textile and video installations.