Annemarie Jacir's Wajib (2017) is a film set in Nazareth that focuses on the strained relationship between a father and his son as they spend a day hand-delivering wedding invitations. Wajib is about intergenerational tension, identity, and the challenges of preserving one’s connection to a homeland while confronting a negative reality. This simple premise allows the film to explore themes of cultural expectations, political divisions, and the personal struggles of Palestinians navigating their national identity amid occupation and diaspora.
Shadi, a Palestinian architect, is the main character of the movie. He comes back from Italy to assist his father, Abu Shadi, in getting ready for his sister's wedding. Shadi and his father's different worldviews become apparent when they travel through Nazareth together. Shadi takes a critical stance on the political and socioeconomic circumstances in his native country and is vocal about the Israeli occupation. In contrast, Abu Shadi prioritizes pragmatism and upholding harmony within his community, embodying a "go along to get along" mentality. A large portion of the movie's plot is emphasized by this dynamic conflict, as their interactions show a generational gap in how they understand and deal with the difficulties of Palestinian identity.
Wajib goes into the complexities of Palestinian identity in a personal way, showing how one’s relationship with their homeland can become strained by external pressures, political forces, and personal ways of living life. The film portrays the struggles that Palestinian families face when trying to maintain cultural traditions amid the realities of occupation, displacement, and life in the diaspora. Through Shadi and Abu Shadi’s conversations and disagreements, Wajib reveals the different ways Palestinians respond to occupation, community expectations, and exile. For Shadi, living abroad has given him a fresh perspective on the limitations and frustrations of life in Nazareth, while Abu Shadi’s decisions reflect a form of resilience developed over decades of adapting to an oppressive system.
The interactions between father and son highlight another significant theme: the impact of exile on one’s identity. Shadi’s experiences in Europe have changed him, creating a sense of detachment from the customs and people in Nazareth. His criticisms of the city’s unkempt streets and architectural changes contrast with Abu Shadi’s sense of pride and belonging. This disparity demonstrates the broader issues that many Palestinians experience as they navigate identity and belonging amid exile and occupation. According to Dhaher (2017), “Palestinians unite, at least emotionally, during every violent act by Israel, such as the invasion and bombing of Gaza or the assassination of Palestinian political activists. This is because it is in the souls and subconscious of all Palestinians that they are all in the same boat and are facing one enemy.”
The film’s focus on intergenerational tension and cultural identity is critical in understanding the challenges Palestinians face, especially those who live in exile or return from the diaspora. Shadi’s position represents the feelings of many young Palestinians who, educated abroad, return with new perspectives that sometimes clash with the older generation’s survival tactics and adaptive approaches. This tension between those who stay and those who leave raises essential questions about cultural continuity, identity, and the sacrifices Palestinians make for their family and community.
The issues portrayed in Wajib highlight the psychological and social impacts of occupation and exile on Palestinian communities. These issues extend beyond the individual level, representing the fractured nature of Palestinian identity. The film asks viewers to consider how political struggles intersect with personal lives, showing how national issues are inseparable from individual and family dynamics.
I found Wajib compelling in its subtle portrayal of how generational and experiential differences can shape one’s connection to home and community. The character of Shadi resonated with me as he grapples with the complexities of returning to a homeland that feels both familiar and foreign. As a Palestinian-Syrian American, I find this relatable as my experiences in America outnumber my experiences within the Middle East. I have different perspectives than generations before me because of this. But, there is a unifying factor amongst all Palestinians. According to Eliassi (2021) “Forced migration, dispossession, and homelessness have come to shape the collective trajectory of the Palestinians” Our struggle is one, even with the differences among generations. His struggle to understand his father’s pragmatism reminded me of my relationship with my grandparents. They’ve faced the abuse of this system far too much in their younger years, which makes them give up on a lot of the idealistic beliefs the younger generation holds. They often encourage me to keep my head down, because they know this system is out to get us.
Wajib by Annemarie Jacir examines the difficulties of family dynamics, cultural identity, and the difficulties of returning to a country that has undergone social and political upheaval. The film excels at addressing these problems through everyday encounters and conversations, creating a story that is both unique to the Palestinian experience and generally relevant. Jacir emphasizes that preserving one's cultural history in the face of hardship is an act of love and resiliency, while Wajib gives viewers the opportunity to consider the ways in which personal and political lives are connected.
Works Cited
Dhaher, S. (2017). The psychological impact of 50 years occupation. Palestine - Israel Journal of Politics, Economics, and Culture, 22(2), 99-105. Retrieved from https://login.lp.hscl.ufl.edu/login?url=https://www.proquest.com/scholarly-journals/psychological-impact-50-years-occupation/docview/1908325299/se-2
Eliassi, Barzoo. Narratives of Statelessness and Political Otherness : Kurdish and Palestinian Experiences. Cham: Palgrave Macmillan, Springer Nature Switzerland AG, 2021. Print.