The separation wall runs through occupied Palestine, intimidating and omnipresent, covered with snarky graffiti, reminiscent of the Berlin Wall in its final days. A striking image of the wall opens Hany Abu-Assad's Oscar-nominated film "Omar", Abu-Assad's first Palestinian feature since "Paradise Now" in 2005. Omar (Adam Bakri) is seen grappling up a dangling rope, scaling the sheer face of the wall, before scrambling over to drop down to the other side. The wall will be used again and again in "Omar", first to show Omar's training as a revolutionary (once he gets out of practice, it becomes a huge struggle to make it up that wall), and also to symbolize the ways that the wall separates Palestinians not only from Israelis but also from one another. The wall makes things like love, loyalty, connection and intimacy impossible.
Omar is played by Adam Bakri, a new actor with barely any credits. He is open, accessible, handsome, and incredibly physical; the film requires him to run, leap and tightrope-walk his way along high walls. Omar is a baker, who spends his free time training for an upcoming operation against the Israelis with his two childhood friends, Tarek (Eyad Hourani) and Amjad (Samer Bisharat). They appear to be working independently of any established group. Later, when Omar is in prison, one of the other prisoners says to him, by way of introduction, "I'm with Hamas. What group are you with?" Being part of a group gives you protection and legitimacy, but Omar is more of a street kid, doing target practice in the woods with his two pals. Their plan is to kill an Israeli soldier in a nearby garrison, an act both reckless and meaningless. But they feel powerless, and the daily humiliations they endure, including random stop-and-searches, have taken their toll. They feel the need to do something to participate in the fight.
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Amjad is the one who pulls the trigger, killing a random Israeli soldier. Omar is chased through the streets the following day and finally arrested and brought to prison. Into the film strolls Agent Rami (the fantastic Waleed F. Zuaiter), who had posed as an Arab prisoner at first, striking up a gentle conversation with Omar in the prison cafeteria, in which Omar says the fateful words, "I will never confess." This, of course, is seen as a confession, and Omar is strung up naked in a pitch-black interrogation room and tortured. He is finally offered a deal by Agent Rami: They will release Omar on the condition that Omar will hand them Tarek. Omar is devastated and panicked, and yet hopeful that he can work both sides.
Love is not easy in the best of times, but in the worst of times it is flat-out dangerous. Being a warrior requires hardness and emotional armor. Omar is not hard. He is open and vulnerable, and those qualities are his very best. He is kind, funny, easygoing, and able to give himself over to love fully. It's not an overstatement to suggest that these are the qualities that make him a credit to the human race and its positive potential. Without those qualities, we are all doomed. But such openness cannot be allowed to flourish in a treacherous war-torn atmosphere where betrayal is required. Betrayal is the theme of the film. Omar is forced to betray his political convictions, in order to work with Agent Rami (their couple of scenes together are among the best in the film), and Nadja struggles with betrayal as well as her loyalties start to shift.
Omar watches films is a site for film enthusiasts written by a film enthusiasts. Here you will be able to find reviews of classics and also modern films. Along with a weekly movie club where we watch a film every week and review it, anyone is free to join in. Finally we have our in depth film analysis where we dissect films and look at their themes and subtext.
And my friends also all rave about it. They think the film is powerful. Gripping. Well acted. Realistic. There is a Palestinian love story which shows Palestinians as very human. But most of all, they like it because it shows graphically just how mean and vicious the Israeli police/IDF are in their treatment of the Palestinians.
But like it or not, a film is both propaganda and educator. And I think this film encourages a widespread view in Canada that Palestinians are anti-Semitic terrorists who just wont leave the Israelis in peace. As a result, in the eyes of many Canadian viewers who do not understand the conflict, while the film exposes the brutal activities of the Israeli security forces, it also seems to provide a logical explanation for them.
I personally think we must be careful about how we judge works of art. This is after all the creative expression of the director, and must be recognized as merely a single contribution to cinema. It would be wrong, and even unfair, to expect the film to be responsible for depicting all of Palestinian society and the conflict of Israel-Palestine at large in two hours. It is even greater folly to for us as outsiders, to be telling Palestinians what is authentic image of themselves to portray.
tag_hash_105Hany Abu-Assad: When I was filming Paradise Now I thought they were spying on me, and I thought there was a spy or a traitor inside my crew. And I become very paranoi[d], and that actually motivate[d] me later to do Omar. Because when you lose trust in your crew and you don't know exactly who is the traitor, you become insane. And it might be also not true, like there was no traitor. But the paranoia lets you believe in the unbelievable, and I thought that this was very interesting to do a movie about.
Hany Abu-Assad's 2005 drama Paradise Now centered on two Palestinian militants preparing for a suicide attack in Tel Aviv; it was the first Palestinian film nominated in the foreign-language Oscar category. Adopt FilmsĀ hide caption
This session will focus on the themes of Trust & Creativity in creating art, as discussed by filmmaker Nicolas Jack Davies and composer/filmmaker Omar Rodrguez-Lpez (The Mars Volta, At The Drive-In), each with their unique perspective on the subject material.
The movie was great and very much a learning experience. It had a lot of substance and enjoyable moments. I thank Shawn Cornelius for the opportunity to work with him on this project because it helped me learn so much. WHATEVER IT TAKES was my first major film role as well as co-director and co-producer. We put a lot of time and work into the project and it paid off with a winner of the Harlem people online Festival. It was a very exciting and proud moment to have something that you created and worked on. Also, it was my first award on a film project so it will always be cherished the most.
The festival and a raft of Egyptian directors came out of in support of El Zohairy and the film, including Mohamed Diab, who was also in competition with Palestine-set drama Amira, and Yousry Nasrallah, with whom the young filmmaker cut his filmmaking teeth as an assistant director.
What was the inspiration for the central, female character?
The story grew out of a very personal incident, but I like to keep a distance between what I experience in my personal life and what is in my films. I took this experience and made it into a different story, with this distance I can go into it in more depth.
You cast non-professional actors for the film. Are they from similar backgrounds to the characters in the film?
No, not really, my choice of actors was based mainly on my first impression of them and from the look in their eyes and whether I could imagine them in the situation in the film and how they would react.
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A little bit electronic, with a touch of world music, and a whole lot of Latin jazz. This is the music of Omar Sosa, a Grammy-nominated Cuban composer and pianist and the subject of a feature-length documentary by Clark screen studies Professor Soren Sorensen. The film is a project 10 years in the making, and over time, Sorensen and Sosa developed a friendship.
Directed by Alfonso lvarez Barreda, the film tells the story of Julin (Chaparro), a widowed father of Mexican origin who has lived in the United States all his life without knowing that his identity hides a secret.
Estampas [Scenes] (1932) and Fiestas Cristianas/Fiestas Paganas [Christian Feasts/Secular Feasts] (1935) both comprise portraits, extreme closeups of objects, panoramic views of the landscape, and low-angle shots of religious imagery, among other images of rural Spain. The advanced cinematic language of these films shows how Val del Omar was starting to investigate the capacity of cinema to develop human visuality. He was interested in its value as a kinesthetic pedagogical tool that could connect audiences physically through the senses. In his films, viewing becomes an active participation where human perception is at the center.
Acario Galaico (de Barro) [Galician Caress (of Clay)] (1961/95) is the least technical film of the triptych and was finalized posthumously. The mysterious and magical soul of Galicia is encapsulated in a combination of negative and positive images, which observe the landscapes of clay and stone of the region, its traditions, and the local sculptor Arturo Baltar. It is more focused on the structural capacities of montage than the other two. Val del Omar envisioned a rhizomatic structure with interconnected sections that can be accessed at any point allowing multiple experiences around the same object. The viewer makes decisions and opens sensorially to the point of becoming an experiential co-editor. Hence, the concatenation of disorganized images evokes a visual pleasure that takes over the desires of narrative. 0852c4b9a8
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