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Posts

Total control v. total vulnerability

All photos are stills from the film Oscar

OMAR: Uncovering Occupied Palestine

By Richard Falk,
February 04, 2013

OMAR is the second film directed  by Hany Abu-Assad to  be a finalist among foreign language films nominated to receive an Oscar at the 2014 Academy Awards ceremony on March 2nd. The earlier film, PARADISE NOW (2005), brought to life the preoccupation at the time with suicide bombing as the principle tactic of Palestinian resistance by exposing the deep inner conflicts of those who partake, the tragic effects of such terror on its Israeli targets, and the hardened manipulative mentality of the leaders who prepare the perpetrators. Abu-Assad born in 1961 in Nazareth, emigrated to the Netherlands in 1980, writes the screen plays for his movies as well as directs. He has a profound gift for story telling that keeps an audience engaged with the human drama affecting the principal Palestinian characters while illuminating broader issues of profound moral and political concern without stooping to didactic means of conveying ‘the message.’ So understood, Abu-Assad’s achievement is artistic in the primary sense, yet attunes us to the dilemmas of oppression and servitude.

In these respects OMAR is superior even to PARADISE NOW, telling the story of what life under Israeli occupation means for the way Palestinian lives are lived, the normalcy of romantic attraction contrasting with the abnormalities of humiliating lives lived behind prison walls. The film opens with Omar climbing the high domineering security wall to overcome the separation of Arab families living on either side, being detected by the Israeli guards who sound sirens and fire a shot. Omar manages to clamber back down and leap to safety. Israeli police on foot and in cars pursue Omar through the alleyways and streets of an impoverished Palestinian neighborhood. The underlying poignancy of Omar’s situation is to be at once ‘a freedom fighter’ and a sensitive young man deeply in love with Nadia, the younger sister of Tarek, his militia commander. In an unspoken realism, Omar is unconditionally bound to both causes, jeopardizing his chance to live a shadow life of acquiescence to the realities of occupation by his choice to dedicate himself at great risk and little hope to the liberation of the Palestinian people and their land.


Adam Bakri as Omar and Leem Lubany as Nadia, their love enmeshed in surveillance, deals, betrayals.

The wall reinforced by the Israeli security forces, portrayed as cunning and unscrupulous, with an occupier’s fear and loathing for those who cower under the rigors of occupation, provides an unforgettable visual metaphor that captures the daily ordeal of the Palestinian people. In a subtle touch, the rope used by Omar throughout the film to avoid the checkpoints and overcome the separation of his home from that of Tarek and Nadia also conveys an understanding that the wall is much more about humiliation and land than it is about security. The rope remains untouched during the entirety of the film, although its presence and illegal use must have been obvious to the Israeli occupation forces that never bother to remove it.

What emerges most vividly as the story unfolds is the dehumanizing effects of prolonged occupation. Omar and Nadia have charm and humor to give their love for another an unforgettable credibility that is brought to life by their awareness of what it means to live without the right to travel beyond the wall. They talk in the language of fantasy about where to go on their honeymoon: he proposes Mozambique, she counters with Bangla Desh, and then more truly, admits that Paris is her dream, while they both fully realize that they will never get the opportunity to get beyond the dingy confines of the West Bank. Nadia’s biggest trip outside of her immediate neighborhood was a visit to Hebron, the tensest, most humiliated city in occupied Palestine, notorious for daily settler violence against the large residentPalestinian community.


Peculiar intimacy: Rami (Waleed F. Zuaiter), an Israeli intelligence operative, makes a deal to free Omar; Zuaiter, in fact a Palestinian-American raised in Kuwait, helped raise $2 million to finance the film

The film conveys better than any book the interactive intimacies of occupier and occupied. The Israeli lead security agent, Rami, calls his mother to ask her to pick up his daughter from school, and when she asks why he can’t do it, he responds “I am stuck in the middle of the fucking West Bank.” Yet the most abiding realization is the horrible dehumanizing effects of this mixture of fear and hatred in contexts of unspeakable inequality, with total control seemingly on one side, and complete vulnerability on the other side. The torture scenes, like the wall, are both horrible in their own enactment, but also metaphors of what it means to live your entire life within master/slave structures of relationship.

The reality of Palestinian violent resistance has two important consequences even though it seems currently futile from the perspective of challenging the occupation in any way that promises to [lead to] liberation: it gives dignity to Palestinians who seem united in their will to live-unto-death despite their defenselessness and it makes Israelis vulnerable despite their seeming total control of the situation as a result of their weaponry, police, surveillance technology, and arrogant sense of racial superiority. In effect, the desperate slave when life is deprived of all personal meaning can sacrifice himself in a symbolic act of vengeance, and inflict pain and loss on the master. Seen from an Israeli perspective, there is no way to achieve total security (this side of total genocide) no matter how clever, sophisticated, and oppressive the systems of control put in place. Technology is incapable of doing the whole job, and for this reason, human fallibility always produces some sort of payback from the incompletely vanquished subjugated population.

Notes and links

Oscar nominations 2014
Omar,  Best foreign language film

Written and directed by Hany Abu-Assad. Full credits here

With “Omar,” Director Hany Abu-Assad Rediscovers Palestinian Cinema, review by Matt Surrusco, October 2013

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