No Other Land (2024) - Adra, Ballal, Abraham, Szor
As I write this non-review-review of a documentary on the West Bank in the Occupied Territories, Israel is engaging in military conflicts with Palestine, Lebanon, Iran, Syria and Yemen. Iran just launched retaliatory bombing of the airbase in Israel.
Going through what's been happening for the past year is going to be futile because it will need detailed context with how we got here - on the verge of World War 3, would take way too long. As I cover New York Film Festival which this film is part of, there's a boycott happening against the event because of many of the sponsors are deemed pro-Israel donors.
I say this is not a movie review because I'm about to lay down what happens in this very personal documentary and explain what it means at this time and place in the world, not as much about how the film was made and put together. This article is from the perspective of a person living in New York, married to a woman of Jewish descent: this is how I see it from my perspective and no one else's. So please keep that in mind as you read along.
No Other Land, a documentary by a group of Palestinian and Israeli activists, shows what it's like to be living under an apartheid state, in the Occupied Territories of the West Bank. Five years in the making, it documents the ongoing destruction in Masafer Yatta- an area consisting of a small group of Palestinian villages in the South of the West Bank. It focuses on Basel Adra, a young activist (serving as one of the directors of the film) who grew up in the village and has been documenting Israeli incursions since he was a child.
He meets Israeli journalist Yuval (Yuval Abraham who is also credited as a director) in 2019, covering land siege and demolition of the Palestinian inhabitants’ brick and mortar homes on the dry hills by Israeli military, which cites the Israeli Supreme Court ruling that Israel has the right to the land in the Occupied Territories, for building a military training ground. Confrontations ensue. But it's been like this forever. Basel's dad has been arrested many times in the past. The homes get destroyed, then rebuilt (with great difficulty I might add), destroyed and rebuilt. They live in constant fear of being evicted or being arrested. The military cuts their water lines, confiscates their generators, pours cement to the wells - all these are documented by Basel and others. Basel, along with his father, known to the Israeli military officers as troublemakers, is a constant target for harassment and threats.
Yuval is rightfully enraged by all of the things he sees, done by the Israeli military, by his name. He is an Israeli. At the end of the day, he gets to go home by breezing through checkpoints, using the Israeli citizen only lanes. He gets to shower and sleep in a cushy bed. On the other hand Basel, about the same age as him, with a law degree, can't get a job, other than manual labor. He needs to tend the gas station when his father gets arrested for protesting, since that's the sole source for the family income. Yet, it's Basel who comforts Yuval, who tells him to calm down. "You are too enthusiastic. You want to see the change overnight, it won't come tomorrow." After years of living under occupation, people become realists.
The network of resistance is done via phone, neighbors communicate that there's a raid or bulldozers coming to this town or that house, as the military seemingly selects their targets at random. They mobilize to stage a demonstration.
A neighbor gets shot while being evicted from their house. He is paralyzed from the shoulders down. They can’t afford to stay in the hospital. Their home destroyed, they move into the cave (the region is known for its natural caves). With a small camera, Basel records everything. He uploads it to the web and hopes to get the words out of the struggle. That's all he does- constantly looking at the phone. Hey, two thousand people liked my post. Their activism sometimes bore fruit and gave a moment of reprieve, like that time Tony Blair toured the region and saw their situation first-hand. And the Israelis backed down their expansion temporarily. Basel's father has a picture with him to prove it.
When they are chilling at night, sharing hookah, the conversation leads to other things between two men. "Do you see yourself having a family?" Yuval asks. Basel hesitates to answer. He is too tired. The years of struggle weighs him down. Always married to his phone, looking at the likes and responses to his posts about the daily lives of his struggle and the news. He is tired. There's nothing else he can do.
Dominating the Middle East news cycle for a year has been the ongoing indiscriminate bombing of civilians in Gaza since October 7th of 2023 by Israel, in retaliation of the surprise attack from the Hamas militants in Gaza Strip. This emboldened the zionist Israeli settler movement in the West Bank. Accompanied by Israeli soldiers, the settlers start violently attacking the homes in Masafer Yatta. Basel records his cousin getting shot by a settler. His father gets arrested. The movie ends in the early 2024. Basel and thousands of other stories like his still go on. People's suffering is staggering, so is their resilience.
Basel Adra, Hamdan Ballal, Yuval Abraham, Rachel Szor capture something that is so immediate and telling, living under the occupation. The systematic injustice and oppression are well documented in No Other Land. Everything we take for granted - roof over our heads, running water, electricity are in constant threat. Plus scarcity of economic opportunities, healthcare and restriction of movement, makes everyday life of people in the West Bank extremely difficult.
Social media serves a very different purpose in the Occupied Territories. Palestinians really count on getting the footage out to the world to show what’s really going on. I had no idea how much they depend on the pressure tactics by us on politicians to improve their lives. It seems no distributor is picking up this film because of its 'sensitive' nature and fear of offending the Israeli government and its powerful lobby groups even though the No Other Land won the awards at this year’s Berlinale. But injustice is injustice. These people in the film are not actors. The oppression is real. The racist vitriol is real. And I feel it is our (people who've seen the film) duty, to advocate for their plight.
Wednesday, October 2, 2024
Balls, Tassels, Panty Hose and Death
Afternoons of Solitude (2024) - Serra
After garnering global critical acclaim of his South Pacific Cold War espionage thriller throwback, Pacifiction, Albert Serra, the Catalan "enfant terrible" of cinema, offers a documentary on bullfighting. A self-professed non-lover of the genre, Serra goes on to show the gory, testosterone and blood-filled world inside the bullring through the eyes of Andrés Roca Rey, a famed bullfighter from Peru. But again, this is Albert Serra film, so it is no ordinary documentary. In fact, it's nothing but.
Filmed almost entirely in close-ups in and around the bullring, It is clear that Afternoons of Solitude's aim is quite different. With the help of Serra close collaborator Artur Tort (Pacifiction, Death of Louis XIV) helming at the camera and also serving as an editor, the film has a striking consistency and rhythm to it. The bullfight is a highly ritualized endeavor: the getups - the montera (the Mickey Mouse hat that toreros wear), the tassels, the sparkly elaborate embroidery on the jacket, the pink pantyhose, the dainty satin shoes that resemble a ballerina's. And the actual bullfighting - with horse mounted lancers and the whole cuadrilla first attacking the bull and tire them out until matador steps in and finishing the job.
It's also highly gruesome business- stream of blood on the beast's back, the dirt, mud, mucus, the staring, strutting, and hollering, then death. The sight is not for the squeamish or animal lovers. There are multiple deaths of the bulls in the film. This highly ritualized killing has been a controversial tradition, criticized and protested from animal rights groups for years. Rightly or wrongly, Serra narrowly concentrates on what's in and around the ring, nothing else. This means nothing about Roca Rey, his entourage, the bulls, nothing. And this is what makes Afternoons of Solitude fascinating.
The sound we hear are heavy breathings of the beast and Roca Rey, his team feverishly singing the praises in the ring over and over again: You got the biggest balls! You are the greatest! You are the most beautiful human being in the world! With the pouty gaping mouth, Roca Rey stares down his beasts, while strutting like Mick Jagger. The battles are tense and the danger imminent. He gets gored a couple of times yet sustain only minor injuries. He hears other toreros with broken ribs over conversations.
Afternoons of Solitude has more common with Lucian Castraing Taylor (Leviathan, Sweetgrass) and the rest of the Sensory Ethnography Lab (SEL) filmmakers' outputs, portraying haptic images on screen. Plus, examining machismo of the Spaniards associated with the bullfighting, not narrated but shown directly with no guise or insinuation. Serra's aim is capturing the purity: the purity of the ritual, the purity of the filmmakers who haven't had any prior experience with bullfighting, the purity of worship, the purity of self-assurance. It's a hard to sit through experience but another worthy effort from one of the most adventurous filmmakers of our time.
Filmed almost entirely in close-ups in and around the bullring, It is clear that Afternoons of Solitude's aim is quite different. With the help of Serra close collaborator Artur Tort (Pacifiction, Death of Louis XIV) helming at the camera and also serving as an editor, the film has a striking consistency and rhythm to it. The bullfight is a highly ritualized endeavor: the getups - the montera (the Mickey Mouse hat that toreros wear), the tassels, the sparkly elaborate embroidery on the jacket, the pink pantyhose, the dainty satin shoes that resemble a ballerina's. And the actual bullfighting - with horse mounted lancers and the whole cuadrilla first attacking the bull and tire them out until matador steps in and finishing the job.
It's also highly gruesome business- stream of blood on the beast's back, the dirt, mud, mucus, the staring, strutting, and hollering, then death. The sight is not for the squeamish or animal lovers. There are multiple deaths of the bulls in the film. This highly ritualized killing has been a controversial tradition, criticized and protested from animal rights groups for years. Rightly or wrongly, Serra narrowly concentrates on what's in and around the ring, nothing else. This means nothing about Roca Rey, his entourage, the bulls, nothing. And this is what makes Afternoons of Solitude fascinating.
The sound we hear are heavy breathings of the beast and Roca Rey, his team feverishly singing the praises in the ring over and over again: You got the biggest balls! You are the greatest! You are the most beautiful human being in the world! With the pouty gaping mouth, Roca Rey stares down his beasts, while strutting like Mick Jagger. The battles are tense and the danger imminent. He gets gored a couple of times yet sustain only minor injuries. He hears other toreros with broken ribs over conversations.
Afternoons of Solitude has more common with Lucian Castraing Taylor (Leviathan, Sweetgrass) and the rest of the Sensory Ethnography Lab (SEL) filmmakers' outputs, portraying haptic images on screen. Plus, examining machismo of the Spaniards associated with the bullfighting, not narrated but shown directly with no guise or insinuation. Serra's aim is capturing the purity: the purity of the ritual, the purity of the filmmakers who haven't had any prior experience with bullfighting, the purity of worship, the purity of self-assurance. It's a hard to sit through experience but another worthy effort from one of the most adventurous filmmakers of our time.
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