At Marché du Film, BDE spoke to May Odeh, of the Palestinian Film Institute (PFI). The body is visiting the Croisette on the occasion of the May 19 Palestine Showcase, which places the focus on four new non-fiction projects. ““It aims to spotlight the talent, creativity, and diversity within the Palestinian filmmaking community, providing a platform for Palestinian filmmakers to share their stories and perspectives with an international audience,” underlines Odeh of the Cannes event.
During our chat, we first touched on the goal of the PFI. She described it as “a voluntary and independent non-profit organization established in 2019.”
“It was born from a shared desire among active film professionals who identify as Palestinians, to create an inclusive body with the mission to develop, promote and empower the community and industry of film in Palestine and for Palestinians worldwide and preserve its cinema,” Odeh tells us.
Zooming in on the Showcase’s objectives, she explains: “It aims to spotlight the talent, creativity, and diversity within the Palestinian filmmaking community, providing a platform for Palestinian filmmakers to share their stories and perspectives with an international audience.”
“It also promotes a deeper understanding of Palestinian culture, history, and identity through the medium of film, fostering empathy, dialogue, and solidarity with the Palestinian people. And, it provides opportunities for Palestinian filmmakers to network with industry professionals, potential collaborators, and investors, facilitating future collaborations and partnerships to support the growth of Palestinian cinema.”
“Moreover, it amplifies the voices and images of the Palestinian people and it may serve as a form of cultural diplomacy, advocating for Palestinian rights and raising awareness about the social, political and humanitarian issues we’re facing, including issues such as occupation, displacement, and human rights violations.”
The four selected projects are Mahdi Fleifel’s MY FATHER’S HOUSE, Alaa Aaliabdallah’s PALESTINE COMEDY CLUB, Bilal Alkhatib’s UNMAKING OF and Mayar Hamdan and Shaima Al-Tamimi’s THE MYTH OF MAHMOUD.
Fleifel’s project My Father’s House, now in production, unfolds nine years after his father’s death. He returns from years of exile to the small town of Elsinore in Denmark where he grew up and begins a personal journey of reconciliation. He bills it as “a film about memory, exile, and a father and his son.” Emmy award-winning producer Geoff Arbourne is producing. The team is on the lookout for buyers, co-producers and gap financiers.
Next, Palestine Comedy Club follows five Palestinian stand-up comedians who write and tour a stand-up comedy show exploring the unlikely, often dark humour that surrounds the complexity of Palestinian identity. What starts as a blending of comic traditions to encourage honest and open reflections through the shared enjoyment of laughter becomes an existential imperative to share common humanity. Produced by Charlotte Knowles for the UK’s Tough Crowd, the team is looking for festivals, sales, distributors, buyers and gap financiers.
A co-production between Palestine, France and Lebanon, Unmaking of chronicles the beginning of the war in Gaza while on the set of a Cherine Dabis movie shooting in the West Bank. For a week, the camera follows the studio crew, documenting the war’s impact on the artists and showcasing their adaptation to tough decisions amid an intensely harsh reality. The team is seeking co-producers, gap financiers and distributors.
In The Myth of Mahmoud, Mayar Hamdan picks up the camera to capture the intricate lives of her Palestinian family, who have resided in Doha for over 60 years. Against the backdrop of never-ending conflicts in Gaza, the family’s Doha home reflects their turmoil. The focal point is Mayar’s mother, Amal, whose sense of displacement and grief are concealed beneath a veil of sarcasm. The co-production between Palestine, Qatar, USA, Yemen, Kenya and Lebanon is looking for further co-pro partners, financiers, distributors, buyers and strategic guidance.
“All of the projects aim to engage with the diverse and compelling narratives of Palestinian cinema through the perspectives of emerging voices whose work reflects resilience, identity, and complex storytelling. These four projects show the diversity of Palestinian storytelling,” Odeh says, adding how these four features aim to hit both festivals and theatres.
Previously, the Showcase has served as springboard for successful projects such as Lina Soualem’s Bye Bye Tiberias, which premiered at Venice and was one of the doc hits of the last festival season. “Taking part in the showcase twice and scooping a cash prize certainly helped her to bring the project to life,” Odeh underscores.
“Palestinian filmmakers, not only the docmakers, face a unique set of challenges and opportunities as they navigate the landscape of filmmaking in a region marked by political turmoil and social upheaval,” she adds. “Palestinian docmakers often grapple with the complexities of portraying the political and social realities of life under occupation. They confront censorship, surveillance, and restrictions on movement that can hinder their ability to freely document and share stories.”
Odeh further articulated the context in which Palestinian filmmakers are working, and the hurdles they must overcome. “Many Palestinian docmakers are dedicated to preserving Palestinian cultural heritage and history through their films. […] They play a crucial role in amplifying the voices of marginalised communities within Palestine, including refugees, women, and LGBTQ+ individuals.”
“Their films shed light on the experiences of those often overlooked or silenced by mainstream media narratives. Due to limited resources and infrastructure within Palestine, many docmakers rely on international collaboration and funding to produce their films. They often partner with international production companies, NGOs, and funding agencies to bring their projects to fruition. Once completed, Palestinian docs may face challenges in distribution and exhibition, both domestically and internationally. Limited access to cinemas and cultural venues within Palestine can hinder local exhibition, while international distribution may be hindered by geopolitical tensions and censorship.”
“And, docmakers working in conflict zones, especially under the Israeli occupation, face significant risks to their personal safety and security. They must navigate the threat of violence, harassment, and arrest while documenting sensitive subjects and events.”
Despite these challenges, Palestinian docmakers continue to produce powerful and impactful work that “sheds light on the human experience in Palestine and amplifies voices of resilience, resistance and hope,” Odeh stresses.
“Through their films, they challenge stereotypes, foster empathy and contribute to global conversations about justice, peace and solidarity,” she declares.
“What does it mean to be present in an international event that fails to recognize your pain? Why do we continue to tell stories that fall on deaf ears? With whom are we speaking? Our communities have been struggling to breath, to rest, to reflect, amidst persistent violence and atrocities committed against the fabric of our society, not only in Gaza, but in all of Palestine, and in exile,” Odeh adds, towards the end of our conversation.
“At the same time, this moment has taught us how important it is to relearn solidarity, not only for Palestinians, but also for the colleagues, students, and communities all over that world that are standing with us. Through this process we’ve seen clearly that our stories, our images, and our films are the raw material of solidarity, providing a language, a colour, and a face to our struggle.”
The Palestine showcase will be held on 19 May, 9:15-10:15 (Lerins 2, Riviera).
