Dear friends,
The ISRAELI FILM FESTIVAL in Australia has engaged in political censorship and pulled the Canadian made film, Inch 'Allah because its not pro-Israel enough and because it sympathetically portrays Palestinians. It has also been strongly suggested that the film was also pulled because the director of the film, Anaïs Barbeau-Lavalette, has signed her name to a Canadian call in support of the Palestinian Boycott, Divestment and Sanctions (BDS) call.
According to the pro-Zionist news outlet J-Wire, Albert Dadon, the chair of the Zionist hasbarist group running the film festival, Australia Israel Cultural Exchange (AICE) agreed to pull the film because: "The artistic direction for this film was in contradiction with our objectives".
David Schulberg, who is credited with getting the film pulled, in a letter of complaint to Dadon and the AICE cited Barbeau-Lavalette support for BDS as a reason for banning the film, writing: "The director herself, because of her BDS affiliation, would be boycotting genuine Israeli cinema and as such would not want to be associated with Israeli product that she would in principle be boycotting. Ironically any Israeli Film Festival would be boycotted by her! .... Please provide an explanation for the inclusion of this film created by a self-declared BDS supporter".
Schulberg also went onto claim that the film "gravely misrepresents the situation that exists in the Israel-Palestinian conflict, highlighting the alleged suffering of the Palestinians at the hand of the Israelis by distorting and distending the facts on the ground ..."
What is notable about Dadon's comments and the complaints by Schulberg are:
(1) That Zionists are unwilling to hear alternative narratives to that of the Zionist one and willing to censor and ban any film that does not fit their preferred pro-Israel narrative and;
(2) the Zionist tendency to distort and misrepresent the Palestinian BDS campaign
Schulberg in his letter of complaint to AICE, which prompted the pulling of the film, claimed that because she is a supporter of the Palestinian initiated BDS campaign that Inch'Allah's director Anaïs Barbeau-Lavalette would be "boycotting genuine Israeli cinema” However, despite Schulberg's claims, BDS does not advocate the boycotting of Israeli films simply because they are Israeli. As the Palestinian BDS National Committee has noted (on many occasions), nowhere in the world does BDS target businesses or anything else based on the nationality of the owner or producer or cultural products.
For a film to be boycottable under BDS guidelines it must either be commissioned by Israeli state institutions or funded by them or promote normalisation (for more information, see the PACBI Cultural boycott guidelines here). Pro-Palestine activists regularly show films made/co-made by Israelis which do not break the boycott guidelines (for example, recently many pro-Palestine groups around the world have shown the film, 5 Broken Cameras. While the film is made by Palestinian director, it also has an Israeli co-director. The film was nominated for an Oscar and was listed as a Israeli, Palestinian and French co-production)
It should also be noted that when, for example, the Melbourne International Film Festival (MIFF) has shown pro-Israel, pro-Zionist films, BDS activists have never called for these films to be pulled or banned. When there has been a protest around MIFF, it has been to do with the Israeli Embassy/government being a sponsor and we have called for the film festival to reject the sponsorship. But we have never called on them to censor, ban or pull films.
What is more disturbing about this claim by Schulberg and also Dadon's comments is the implication that "genuine Israeli cinema" must always be ardently pro-Zionist and that a film is automatically “anti-Israel” because it portrays Palestinians sympathetically or does not automatically adopt the Zionist narrative.
In an attempt to justify their political banning of a film that is supposedly not "pro-Israel" enough, Dadon has told The Age newspaper (see article below) that the film "justifies suicide bombing". However, international reviews of the film have made it clear that this is not the case. One such review by the Cinemablographer website (see review below) noted in relation to the both the suicide bombing and other violence in the film: "Some viewers might object that the film frequently puts children as the targets of the violent attacks that are most central to the narrative, but these tragic deaths of innocents ultimately accentuate the senselessness of all the bloodshed. The intriguing framing device of the film, in which the camera follows a child through a marketplace until his trip is cut short by a suicide bomber, will doubtlessly have viewers debating the futility of the violence".
Anaïs Barbeau-Lavalette in an interview about her film noted: "For the most part, the Palestinians and Israelis who read the script liked it". She went on to point out, however, that "In fact, Inch'Allah is not a film about the Israeli-Palestinian conflict. It's a film about a Quebecer in Palestine, about a doctor who is thrown in the deep end of the war. I wanted to talk, first and foremost, about what doesn't belong to us, about what happens to us when we're confronted with a reality so much bigger than us: war. That was my point of view, and the Middle Eastern people who read the script understood it right away".
Tom Ryan, a former Sunday Age film critic, who moderated the Melbourne Israel Film Festival Q & A session for the film before it was pulled from the festival has noted in an article published in The Age on the banning of the film that he had originally been quite impressed at the Q & A session by the audiences "robust responses", "the diverse views on offer", and the "sharp intelligence" of Levy. However, with the banning of the film, he has stated he is "truly dismayed" to learn the film had been pulled. "I had been mistaken about what I'd perceived to be a genuinely democratic openness to ideas," he said.
While the Israel Film Festival has banned the film, Inch'Allah will be shown in cinemas in Australia in October.
I have included below the original J-Wire article, as well as a report by The Age on the banning of the film and the review of the film by the Cinemablographer website.
In solidarity, Kim
***
Trailer: Inch'Allah
Philippa Hawker Film and arts writer: The Age
Inch'allah was shown several times before the decision was made to remove it from the program.
The Israeli Film Festival has cancelled scheduled screenings
of an award-winning French-Canadian movie following complaints it was
"anti-Israeli" and should never have been part of the event.
The decision to pull the film, Inch'allah, was made by Albert Dadon, chairman of the Australia Israel Cultural Exchange, which presents the festival.
He said he does not normally involve himself in the artistic direction of the festival, but in this case felt it was necessary.
Inch'allah, written and directed by Canadian
filmmaker Anaïs Barbeau-Lavalette, is set in Israel but was shot in
Jordan. It focuses on three women: a Canadian doctor working in a UN
clinic in Ramallah (Evelyne Brochu), a pregnant Palestinian woman
(Sabrina Ouazani); and an Israeli soldier. The soldier is played by
Sivan Levy, who was a festival guest and appeared at post-screening
Q&A sessions in Sydney and Melbourne.
The film was shown several times in Victoria and in other states before the decision was made to remove it from the program. The remaining three screenings, which were in Melbourne, were cancelled.
In February, the film won the FIPRESCI critics' prize at the Berlin Film Festival, as well as a special mention in the Ecumenical Jury Award. In the same month, the director was named artist of the year by the Montreal-based les Artistes pour la Paix (artists for peace).
The Australian and New Zealand-Jewish news site J-Wire quoted a festival patron, David Schulberg, who wrote to organisers demanding an explanation for the inclusion of Inch'allah, which he called "anti-Israeli", saying that it "gravely misrepresents the situation that exists in the Israeli-Palestinian conflict, highlighting the alleged suffering of Palestinians at the hand of the Israelis by distorting and distending the facts on the ground".
He noted that Barbeau-Lavalette was one of 500 Montreal artists who had signed a petition in 2010 supporting the boycott, divestment and sanctions (BDS) movement against Israel.
Tom Ryan, former Sunday Age film critic, moderated the Melbourne Q & A last Saturday. He said he had been impressed by the audience's "robust responses", "the diverse views on offer", and the "sharp intelligence" of Levy, but added he was "truly dismayed" to learn the film had been pulled. "I had been mistaken about what I'd perceived to be a genuinely democratic openness to ideas," he said.
Another festival patron, Sol Salbe, who attended a Melbourne screening of Inch'allah, said he felt the removal of the film was wrong, and made for the wrong reasons.
Film critic and broadcaster Peter Krausz labelled the decision to withdraw the film from the program "appalling", claiming it "makes us a laughing stock around the world".
The festival, now in its 10th year, concludes in Melbourne on Wednesday. The closing night film is Otto Preminger's 1960 Hollywood movie Exodus, which was filmed in Israel.
Inch'allah will be released in selected Australian cinemas in October.
CORRECTION: An earlier version of this article incorrectly referred to J-Wire as J-News.
****
REVIEW: INCH'ALLAH
By Cinema Blographer
The same rationalization becomes the central dilemma in Inch'Allah, the latest Canadian film embroiled
in the drama of the Middle East.
Inch'Allah, directed by Anaïs Barbeau-Lavalette, is a powerful film. Comparisons
to Incendies are inevitable, and
audiences will be glad to hear that Inch’Allah
holds its own against Denis Villenueve’s masterpiece. (Barbeau-Lavalette actually worked
on Incendies and directed a behind
the scenes documentary that appears on the Blu-ray edition of the film.) Like Incendies, Inch’Allah is an emotionally draining
and devastating experience; however, as with Canada’s 2010 Oscar nominee, this
tragedy has ample rewards.
- See more at: http://www.cinemablographer.com/2012/09/tiff-review-inchallah.html#sthash.mHg4Bqnx.dpuf
The same rationalization becomes the central dilemma in Inch'Allah, the latest Canadian film embroiled
in the drama of the Middle East.
Inch'Allah, directed by Anaïs Barbeau-Lavalette, is a powerful film. Comparisons
to Incendies are inevitable, and
audiences will be glad to hear that Inch’Allah
holds its own against Denis Villenueve’s masterpiece. (Barbeau-Lavalette actually worked
on Incendies and directed a behind
the scenes documentary that appears on the Blu-ray edition of the film.) Like Incendies, Inch’Allah is an emotionally draining
and devastating experience; however, as with Canada’s 2010 Oscar nominee, this
tragedy has ample rewards.
The same rationalization becomes the central dilemma in Inch'Allah, the latest Canadian film embroiled
in the drama of the Middle East.
Inch'Allah, directed by Anaïs Barbeau-Lavalette, is a powerful film. Comparisons
to Incendies are inevitable, and
audiences will be glad to hear that Inch’Allah
holds its own against Denis Villenueve’s masterpiece. (Barbeau-Lavalette actually worked
on Incendies and directed a behind
the scenes documentary that appears on the Blu-ray edition of the film.) Like Incendies, Inch’Allah is an emotionally draining
and devastating experience; however, as with Canada’s 2010 Oscar nominee, this
tragedy has ample rewards.
- See more at: http://www.cinemablographer.com/2012/09/tiff-review-inchallah.html#sthash.mHg4Bqnx.dpuf
The ISRAELI FILM FESTIVAL in Australia has engaged in political censorship and pulled the Canadian made film, Inch 'Allah because its not pro-Israel enough and because it sympathetically portrays Palestinians. It has also been strongly suggested that the film was also pulled because the director of the film, Anaïs Barbeau-Lavalette, has signed her name to a Canadian call in support of the Palestinian Boycott, Divestment and Sanctions (BDS) call.
According to the pro-Zionist news outlet J-Wire, Albert Dadon, the chair of the Zionist hasbarist group running the film festival, Australia Israel Cultural Exchange (AICE) agreed to pull the film because: "The artistic direction for this film was in contradiction with our objectives".
David Schulberg, who is credited with getting the film pulled, in a letter of complaint to Dadon and the AICE cited Barbeau-Lavalette support for BDS as a reason for banning the film, writing: "The director herself, because of her BDS affiliation, would be boycotting genuine Israeli cinema and as such would not want to be associated with Israeli product that she would in principle be boycotting. Ironically any Israeli Film Festival would be boycotted by her! .... Please provide an explanation for the inclusion of this film created by a self-declared BDS supporter".
Schulberg also went onto claim that the film "gravely misrepresents the situation that exists in the Israel-Palestinian conflict, highlighting the alleged suffering of the Palestinians at the hand of the Israelis by distorting and distending the facts on the ground ..."
What is notable about Dadon's comments and the complaints by Schulberg are:
(1) That Zionists are unwilling to hear alternative narratives to that of the Zionist one and willing to censor and ban any film that does not fit their preferred pro-Israel narrative and;
(2) the Zionist tendency to distort and misrepresent the Palestinian BDS campaign
Schulberg in his letter of complaint to AICE, which prompted the pulling of the film, claimed that because she is a supporter of the Palestinian initiated BDS campaign that Inch'Allah's director Anaïs Barbeau-Lavalette would be "boycotting genuine Israeli cinema” However, despite Schulberg's claims, BDS does not advocate the boycotting of Israeli films simply because they are Israeli. As the Palestinian BDS National Committee has noted (on many occasions), nowhere in the world does BDS target businesses or anything else based on the nationality of the owner or producer or cultural products.
For a film to be boycottable under BDS guidelines it must either be commissioned by Israeli state institutions or funded by them or promote normalisation (for more information, see the PACBI Cultural boycott guidelines here). Pro-Palestine activists regularly show films made/co-made by Israelis which do not break the boycott guidelines (for example, recently many pro-Palestine groups around the world have shown the film, 5 Broken Cameras. While the film is made by Palestinian director, it also has an Israeli co-director. The film was nominated for an Oscar and was listed as a Israeli, Palestinian and French co-production)
It should also be noted that when, for example, the Melbourne International Film Festival (MIFF) has shown pro-Israel, pro-Zionist films, BDS activists have never called for these films to be pulled or banned. When there has been a protest around MIFF, it has been to do with the Israeli Embassy/government being a sponsor and we have called for the film festival to reject the sponsorship. But we have never called on them to censor, ban or pull films.
What is more disturbing about this claim by Schulberg and also Dadon's comments is the implication that "genuine Israeli cinema" must always be ardently pro-Zionist and that a film is automatically “anti-Israel” because it portrays Palestinians sympathetically or does not automatically adopt the Zionist narrative.
In an attempt to justify their political banning of a film that is supposedly not "pro-Israel" enough, Dadon has told The Age newspaper (see article below) that the film "justifies suicide bombing". However, international reviews of the film have made it clear that this is not the case. One such review by the Cinemablographer website (see review below) noted in relation to the both the suicide bombing and other violence in the film: "Some viewers might object that the film frequently puts children as the targets of the violent attacks that are most central to the narrative, but these tragic deaths of innocents ultimately accentuate the senselessness of all the bloodshed. The intriguing framing device of the film, in which the camera follows a child through a marketplace until his trip is cut short by a suicide bomber, will doubtlessly have viewers debating the futility of the violence".
Anaïs Barbeau-Lavalette in an interview about her film noted: "For the most part, the Palestinians and Israelis who read the script liked it". She went on to point out, however, that "In fact, Inch'Allah is not a film about the Israeli-Palestinian conflict. It's a film about a Quebecer in Palestine, about a doctor who is thrown in the deep end of the war. I wanted to talk, first and foremost, about what doesn't belong to us, about what happens to us when we're confronted with a reality so much bigger than us: war. That was my point of view, and the Middle Eastern people who read the script understood it right away".
Tom Ryan, a former Sunday Age film critic, who moderated the Melbourne Israel Film Festival Q & A session for the film before it was pulled from the festival has noted in an article published in The Age on the banning of the film that he had originally been quite impressed at the Q & A session by the audiences "robust responses", "the diverse views on offer", and the "sharp intelligence" of Levy. However, with the banning of the film, he has stated he is "truly dismayed" to learn the film had been pulled. "I had been mistaken about what I'd perceived to be a genuinely democratic openness to ideas," he said.
While the Israel Film Festival has banned the film, Inch'Allah will be shown in cinemas in Australia in October.
I have included below the original J-Wire article, as well as a report by The Age on the banning of the film and the review of the film by the Cinemablographer website.
In solidarity, Kim
***
Trailer: Inch'Allah
***
The organisers agreed and the film has been withdrawn from the program.
Patron David Schulberg wrote the following letter to the Chairman of the Australia Israel Cultural Exchange Albert Dadon:
“With reference to the film Inch’allah that is being shown at this year’s ‘Israeli Film Festival’, we should note that Inch’Allah’s writer and director, Anais Barbeau-Lavalette, in 2009, was one of 500 Quebec artists (including many filmmakers) “joining the international movement against Israeli apartheid” and publicly signing a petition calling for BDS: boycott, divestment and sanctions. This explains why Inch’allah is essentially a propaganda film; it was shot in Jordan probably because of her boycott of Israel. Here’s the link to the petition: www.tadamon.ca/post/5824 that was signed by the film’s director.
During the Q&A session that followed the screening I attended in Melbourne on Saturday night August 18, there was a widespread view that this film should not have been part of the program as it was not an Israeli film in any sense. So much for suggestions of “well-meaning” film-making that the partisan presenter of the Q&A session put forward in his overly enthusiastic support for the film.
This is not bona fide Israeli cinema. The film was shot in Jordan by a French-Canadian consortium with a very tenuous association with an international production company July–August productions that has some Israeli backers. The director herself, because of her BDS affiliation, would be boycotting genuine Israeli cinema and as such would not want to be associated with Israeli product that she would in principle be boycotting. Ironically any Israeli Film Festival would be boycotted by her!
The audience witnessed a film that gravely misrepresents the situation that exists in the Israeli-Palestinian conflict, highlighting the alleged suffering of Palestinians at the hand of the Israelis by distorting and distending the facts on the ground, using stereotypical symbols of Israeli brutality e.g. a jeep deliberately running over a stone-throwing youth (reminiscent of the story of Rachel Corrie), and a woman giving birth at an Israeli checkpoint and being refused emergency entry to a hospital.
I am thinking that we should now be calling this film festival the ‘Anti-Israel Film Festival’. Please provide an explanation for the inclusion of this film created by a self-declared BDS supporter.”
He told J-Wire: “I have shared my dismay over the film Inch’Allah with others who have expressed anger and disappointment over the fact that the film was wrongly touted as being representative of Israeli cinema.”
Dadon agreed with Schulberg, withdrawing the film from exhibition.
Dadon replied: “Well received. I completely agree with you. The artistic direction for this film was in contradiction with our objectives. As a result I have asked Palace to pull off the film. I usually prefer not to get involved in artistic matters concerning the festival but in this instance (I had not seen every movie) the message of that film is completely at odds with what we are about.
All ads etc have been cancelled and the film has been cancelled from tomorrow for the rest of the festival next week.
Rest assured that such mistake isn’t about to reoccur.”
***Film withdrawn from the Israeli Film Festival
August 22, 2013 by J-Wire Staff
Read on for article
A Melbourne-based patron of the AICE Israeli Film Festival
complained to the organisers that the message delivered by one exhibit
was in fact anti-Israeli.The organisers agreed and the film has been withdrawn from the program.
Patron David Schulberg wrote the following letter to the Chairman of the Australia Israel Cultural Exchange Albert Dadon:
“With reference to the film Inch’allah that is being shown at this year’s ‘Israeli Film Festival’, we should note that Inch’Allah’s writer and director, Anais Barbeau-Lavalette, in 2009, was one of 500 Quebec artists (including many filmmakers) “joining the international movement against Israeli apartheid” and publicly signing a petition calling for BDS: boycott, divestment and sanctions. This explains why Inch’allah is essentially a propaganda film; it was shot in Jordan probably because of her boycott of Israel. Here’s the link to the petition: www.tadamon.ca/post/5824 that was signed by the film’s director.
During the Q&A session that followed the screening I attended in Melbourne on Saturday night August 18, there was a widespread view that this film should not have been part of the program as it was not an Israeli film in any sense. So much for suggestions of “well-meaning” film-making that the partisan presenter of the Q&A session put forward in his overly enthusiastic support for the film.
This is not bona fide Israeli cinema. The film was shot in Jordan by a French-Canadian consortium with a very tenuous association with an international production company July–August productions that has some Israeli backers. The director herself, because of her BDS affiliation, would be boycotting genuine Israeli cinema and as such would not want to be associated with Israeli product that she would in principle be boycotting. Ironically any Israeli Film Festival would be boycotted by her!
The audience witnessed a film that gravely misrepresents the situation that exists in the Israeli-Palestinian conflict, highlighting the alleged suffering of Palestinians at the hand of the Israelis by distorting and distending the facts on the ground, using stereotypical symbols of Israeli brutality e.g. a jeep deliberately running over a stone-throwing youth (reminiscent of the story of Rachel Corrie), and a woman giving birth at an Israeli checkpoint and being refused emergency entry to a hospital.
I am thinking that we should now be calling this film festival the ‘Anti-Israel Film Festival’. Please provide an explanation for the inclusion of this film created by a self-declared BDS supporter.”
He told J-Wire: “I have shared my dismay over the film Inch’Allah with others who have expressed anger and disappointment over the fact that the film was wrongly touted as being representative of Israeli cinema.”
Dadon agreed with Schulberg, withdrawing the film from exhibition.
Dadon replied: “Well received. I completely agree with you. The artistic direction for this film was in contradiction with our objectives. As a result I have asked Palace to pull off the film. I usually prefer not to get involved in artistic matters concerning the festival but in this instance (I had not seen every movie) the message of that film is completely at odds with what we are about.
All ads etc have been cancelled and the film has been cancelled from tomorrow for the rest of the festival next week.
Rest assured that such mistake isn’t about to reoccur.”
'It justifies suicide bombing': Inch'allah pulled from Israeli Film Festival
Philippa Hawker Film and arts writer: The AgeInch'allah was shown several times before the decision was made to remove it from the program.
The film represents an ideology we obviously can't endorse. It justifies suicide bombing. It might have been OK to be in another festival, but certainly not in ours.Mr Dadon said the inclusion of Inch'allah was "an error" because the film was a French-Canadian production, not an Israeli film. He said that it also "represents an ideology we obviously can't endorse. It justifies suicide bombing. It might have been OK to be in another festival, but certainly not in ours."
He said he does not normally involve himself in the artistic direction of the festival, but in this case felt it was necessary.
The film was shown several times in Victoria and in other states before the decision was made to remove it from the program. The remaining three screenings, which were in Melbourne, were cancelled.
In February, the film won the FIPRESCI critics' prize at the Berlin Film Festival, as well as a special mention in the Ecumenical Jury Award. In the same month, the director was named artist of the year by the Montreal-based les Artistes pour la Paix (artists for peace).
The Australian and New Zealand-Jewish news site J-Wire quoted a festival patron, David Schulberg, who wrote to organisers demanding an explanation for the inclusion of Inch'allah, which he called "anti-Israeli", saying that it "gravely misrepresents the situation that exists in the Israeli-Palestinian conflict, highlighting the alleged suffering of Palestinians at the hand of the Israelis by distorting and distending the facts on the ground".
He noted that Barbeau-Lavalette was one of 500 Montreal artists who had signed a petition in 2010 supporting the boycott, divestment and sanctions (BDS) movement against Israel.
Tom Ryan, former Sunday Age film critic, moderated the Melbourne Q & A last Saturday. He said he had been impressed by the audience's "robust responses", "the diverse views on offer", and the "sharp intelligence" of Levy, but added he was "truly dismayed" to learn the film had been pulled. "I had been mistaken about what I'd perceived to be a genuinely democratic openness to ideas," he said.
Another festival patron, Sol Salbe, who attended a Melbourne screening of Inch'allah, said he felt the removal of the film was wrong, and made for the wrong reasons.
Film critic and broadcaster Peter Krausz labelled the decision to withdraw the film from the program "appalling", claiming it "makes us a laughing stock around the world".
The festival, now in its 10th year, concludes in Melbourne on Wednesday. The closing night film is Otto Preminger's 1960 Hollywood movie Exodus, which was filmed in Israel.
Inch'allah will be released in selected Australian cinemas in October.
CORRECTION: An earlier version of this article incorrectly referred to J-Wire as J-News.
****
REVIEW: INCH'ALLAH
By Cinema Blographer
(Canada/France, 102 min.)
Dir. Anaïs Barbeau-Lavalette, Writ.
Anaïs Barbeau-Lavalette
Starring: Evelyne Brochu, Sabrina
Ouazani, Sivan Levy
Inch'Allah comes on a wave of
films about Canada's relationship to the Middle East. For example,
Ruba Nadda’s Inescapable, which also plays at the TIFF 2012,
jets Alexander Siddig and Marisa Tomei to Damascus for a
politically-tinged thriller. The trend began with Incendies
and its mythical tale about the devastating ravages of the civil
war in Lebanon. The film proved a bone fide hit. Then came Monsieur
Lazhar and its sweet tale about Middle Easterners becoming part
of the Canadian cultural mosaic. There was also Afghan Luke,
the inevitable CanCon turkey, but we'll just slip that one under the
covers. If we can't see it, the problem doesn't exist, right?
The same
rationalization becomes the central dilemma in Inch'Allah, the
latest Canadian film embroiled in the drama of the Middle East.
Inch'Allah, directed by Anaïs Barbeau-Lavalette, is a
powerful film. Comparisons to Incendies are inevitable, and
audiences will be glad to hear that Inch’Allah holds its own
against Denis Villenueve’s masterpiece. (Barbeau-Lavalette actually
worked on Incendies and directed a behind the scenes
documentary that appears on the Blu-ray edition of the film.) Like
Incendies, Inch’Allah is an emotionally draining and
devastating experience; however, as with Canada’s 2010 Oscar
nominee, this tragedy has ample rewards.
Inch'Allah tells of the
consequences of the civil war between Israel and Palestine. A
Canadian doctor named Chloé (Evelyne Brochu from Café
de flore) find herself caught on both sides of the concrete
wall that separates the two territories, both literally and
figuratively. Chloé is hired to work in a clinic in Palestine and
she lands the side job of being the personal nurse to a pregnant
young Palestinian woman named Rand (Sabrina Ouazani). As Chloé tends
to the wounds of Palestinians, she sees firsthand the violence and
destruction that ravages the land through war.
Chloé's experience in Palestine also
teaches her that Israel is a much safer place; consequently, she
keeps an apartment in Jerusalem and makes a daily trip across the
border for work. Chloé can pass far more easily than others can. In
Israel, Chloé befriends a young woman named Avi (Sivan Levy) who
works in the Israeli army. Chloé’s friendship with Avi provides
private evidence of how deeply and personally this war cuts. Avi
never states her reasons for duty whenever Chloé enquires. The only
excuse, from Chloé’s perspective, is that it's hereditary.
Chloé’s friendship with a girl in
either warring faction leaves her straddling both sides of a complex
situation. As much as Chloé tries to remain neutral and apolitical,
she cannot help but be persuaded to fight with one side. One rowdy
hooligan teases Chloé that “All sides is no sides.” The comment
is delivered with the implication of promiscuity, and Chloé cannot
help but feel cheap and dirty while watching bloodshed from the
sidelines.
Anaïs Barbeau-Lavalette handles the
complexity of the Israel/Palestine setting with considerable care and
skill. Dialogue about the specificities of the divide is scant, aside
from the odd comment that this rift has strong roots rooted in
religion and history. Rather than simplify such a complicated story
within dialogue that makes for an engaging film, Barbeau-Lavalette
doesn’t get mired in explaining too many details of the situation.
The writer/director is smart to leave politics aside for much of the
film, and she instead focuses on framing the bloodshed through a
humanist perspective. Inch’Allah looks at the emotional and
psychological tolls that war has on the individual. The film
certainly doesn’t ignore politics; rather, it conveys them more
subtly through symbolism and mise-en-scene. Inch’Allah will
doubtlessly prove provocative and controversial, but it’s important
to remember that the film is framed through the eyes of a foreigner
who seems unable to scrounge up the facts from parties fighting on
either side. Moreover, any explanations fail to justify the killing
that Chloé sees.
Anchored by an excellent performance by
Evelyne Brochu, Inch’Allah makes clear that the personal is
political. Through Chloé’s strained and war-worn eyes, the
audience sees a need to end the violence because it corrupts all.
Chloé finds herself fighting in a land where nothing good can be
produced, which is a fact that is stated powerfully in the climax of
the film that brings Chloé and Rand to the border. Some viewers
might object that the film frequently puts children as the targets of
the violent attacks that are most central to the narrative, but these
tragic deaths of innocents ultimately accentuate the senselessness of
all the bloodshed. The intriguing framing device of the film, in
which the camera follows a child through a marketplace until his trip
is cut short by a suicide bomber, will doubtlessly have viewers
debating the futility of the violence.
Produced by Kim McCraw and Luc Déry
(the same pair of powerhouse producers who brought you Incendies
and Monsieur Lazhar, and took Canada to the Oscars two years
in a row), Inch'Allah boasts the kind of storytelling that
intuitively intertwines the local and the global. By providing such a
relevant tale, Inch'Allah aligns itself with Incendies
and Monsieur Lazhar by offering a Canadian film that shows
progress beyond an idealized national cinema. Inch'Allah
should play well internationally when one considers its subject
matter, not to mention the credits of its producers. However, this
film by Anaïs Barbeau-Lavalette is another example of a
well-constructed Canuck film that deserves to be noticed on merit.
TIFF Review: 'Inch'Allah'
Inch’Allah
(Canada/France, 102 min.)
Dir. Anaïs Barbeau-Lavalette, Writ. Anaïs Barbeau-Lavalette
Starring: Evelyne Brochu, Sabrina Ouazani, Sivan Levy
Inch'Allah comes
on a wave of films about Canada's relationship to the Middle East. For example,
Ruba Nadda’s Inescapable, which also
plays at the TIFF 2012, jets Alexander Siddig and Marisa Tomei to Damascus for
a politically-tinged thriller. The trend began with Incendies and its mythical tale about the devastating ravages of
the civil war in Lebanon. The film proved a bone fide hit. Then came Monsieur Lazhar and its sweet tale about Middle Easterners becoming
part of the Canadian cultural mosaic. There was also Afghan Luke, the inevitable CanCon turkey, but we'll just slip that
one under the covers. If we can't see it, the problem doesn't exist, right?
Inch'Allah tells
of the consequences of the civil war between Israel and Palestine. A Canadian
doctor named Chloé (Evelyne Brochu from Café de flore) find herself caught on both sides of the concrete wall that separates
the two territories, both literally and figuratively. Chloé is hired to work in
a clinic in Palestine and she lands the side job of being the personal nurse to
a pregnant young Palestinian woman named Rand (Sabrina Ouazani). As Chloé tends
to the wounds of Palestinians, she sees firsthand the violence and destruction
that ravages the land through war.
Chloé's experience in Palestine also teaches her that Israel
is a much safer place; consequently, she keeps an apartment in Jerusalem and
makes a daily trip across the border for work. Chloé can pass far more easily
than others can. In Israel, Chloé befriends a young woman named Avi (Sivan Levy)
who works in the Israeli army. Chloé’s friendship with Avi provides private
evidence of how deeply and personally this war cuts. Avi never states her
reasons for duty whenever Chloé enquires. The only excuse, from Chloé’s perspective,
is that it's hereditary.
Chloé’s friendship with a girl in either warring faction
leaves her straddling both sides of a complex situation. As much as Chloé tries
to remain neutral and apolitical, she cannot help but be persuaded to fight
with one side. One rowdy hooligan teases Chloé that “All sides is no sides.”
The comment is delivered with the implication of promiscuity, and Chloé cannot
help but feel cheap and dirty while watching bloodshed from the sidelines.
Anaïs Barbeau-Lavalette handles the complexity of the
Israel/Palestine setting with considerable care and skill. Dialogue about the
specificities of the divide is scant, aside from the odd comment that this rift
has strong roots rooted in religion and history. Rather than simplify such a
complicated story within dialogue that makes for an engaging film,
Barbeau-Lavalette doesn’t get mired in explaining too many details of the situation.
The writer/director is smart to leave politics aside for much of the film, and
she instead focuses on framing the bloodshed through a humanist perspective. Inch’Allah looks at the emotional and
psychological tolls that war has on the individual. The film certainly doesn’t
ignore politics; rather, it conveys them more subtly through symbolism and mise-en-scene. Inch’Allah will doubtlessly prove
provocative and controversial, but it’s important to remember that the film is
framed through the eyes of a foreigner who seems unable to scrounge up the
facts from parties fighting on either side. Moreover, any explanations fail to justify the killing that Chloé sees.
Anchored by an excellent performance by Evelyne Brochu, Inch’Allah
makes clear that the personal
is political. Through Chloé’s strained and war-worn eyes, the audience
sees a need to end the violence because it corrupts all. Chloé finds
herself
fighting in a land where nothing good can be produced, which is a fact
that is
stated powerfully in the climax of the film that brings Chloé and Rand
to the
border. Some viewers might object that the film frequently puts children
as the
targets of the violent attacks that are most central to the narrative,
but
these tragic deaths of innocents ultimately accentuate the senselessness
of all
the bloodshed. The intriguing framing device of the film, in which the
camera follows a child through a marketplace until his trip is cut short
by a suicide bomber, will doubtlessly have
viewers debating the futility of the violence.
Produced by Kim McCraw and Luc Déry (the same pair of
powerhouse producers who brought you Incendies
and Monsieur Lazhar, and took Canada
to the Oscars two years in a row), Inch'Allah
boasts the kind of storytelling that intuitively intertwines the local and the
global. By providing such a relevant tale, Inch'Allah
aligns itself with Incendies and Monsieur Lazhar by offering a Canadian
film that shows progress beyond an idealized national cinema. Inch'Allah should play well
internationally when one considers its subject matter, not to mention the
credits of its producers. However, this film by Anaïs Barbeau-Lavalette is
another example of a well-constructed Canuck film that deserves to be noticed
on merit.
Inch’Allah
(Canada/France, 102 min.)
Dir. Anaïs Barbeau-Lavalette, Writ. Anaïs Barbeau-Lavalette
Starring: Evelyne Brochu, Sabrina Ouazani, Sivan Levy
Inch'Allah comes
on a wave of films about Canada's relationship to the Middle East. For example,
Ruba Nadda’s Inescapable, which also
plays at the TIFF 2012, jets Alexander Siddig and Marisa Tomei to Damascus for
a politically-tinged thriller. The trend began with Incendies and its mythical tale about the devastating ravages of
the civil war in Lebanon. The film proved a bone fide hit. Then came Monsieur Lazhar and its sweet tale about Middle Easterners becoming
part of the Canadian cultural mosaic. There was also Afghan Luke, the inevitable CanCon turkey, but we'll just slip that
one under the covers. If we can't see it, the problem doesn't exist, right?
Inch'Allah tells
of the consequences of the civil war between Israel and Palestine. A Canadian
doctor named Chloé (Evelyne Brochu from Café de flore) find herself caught on both sides of the concrete wall that separates
the two territories, both literally and figuratively. Chloé is hired to work in
a clinic in Palestine and she lands the side job of being the personal nurse to
a pregnant young Palestinian woman named Rand (Sabrina Ouazani). As Chloé tends
to the wounds of Palestinians, she sees firsthand the violence and destruction
that ravages the land through war.
Chloé's experience in Palestine also teaches her that Israel
is a much safer place; consequently, she keeps an apartment in Jerusalem and
makes a daily trip across the border for work. Chloé can pass far more easily
than others can. In Israel, Chloé befriends a young woman named Avi (Sivan Levy)
who works in the Israeli army. Chloé’s friendship with Avi provides private
evidence of how deeply and personally this war cuts. Avi never states her
reasons for duty whenever Chloé enquires. The only excuse, from Chloé’s perspective,
is that it's hereditary.
Chloé’s friendship with a girl in either warring faction
leaves her straddling both sides of a complex situation. As much as Chloé tries
to remain neutral and apolitical, she cannot help but be persuaded to fight
with one side. One rowdy hooligan teases Chloé that “All sides is no sides.”
The comment is delivered with the implication of promiscuity, and Chloé cannot
help but feel cheap and dirty while watching bloodshed from the sidelines.
Anaïs Barbeau-Lavalette handles the complexity of the
Israel/Palestine setting with considerable care and skill. Dialogue about the
specificities of the divide is scant, aside from the odd comment that this rift
has strong roots rooted in religion and history. Rather than simplify such a
complicated story within dialogue that makes for an engaging film,
Barbeau-Lavalette doesn’t get mired in explaining too many details of the situation.
The writer/director is smart to leave politics aside for much of the film, and
she instead focuses on framing the bloodshed through a humanist perspective. Inch’Allah looks at the emotional and
psychological tolls that war has on the individual. The film certainly doesn’t
ignore politics; rather, it conveys them more subtly through symbolism and mise-en-scene. Inch’Allah will doubtlessly prove
provocative and controversial, but it’s important to remember that the film is
framed through the eyes of a foreigner who seems unable to scrounge up the
facts from parties fighting on either side. Moreover, any explanations fail to justify the killing that Chloé sees.
Anchored by an excellent performance by Evelyne Brochu, Inch’Allah
makes clear that the personal
is political. Through Chloé’s strained and war-worn eyes, the audience
sees a need to end the violence because it corrupts all. Chloé finds
herself
fighting in a land where nothing good can be produced, which is a fact
that is
stated powerfully in the climax of the film that brings Chloé and Rand
to the
border. Some viewers might object that the film frequently puts children
as the
targets of the violent attacks that are most central to the narrative,
but
these tragic deaths of innocents ultimately accentuate the senselessness
of all
the bloodshed. The intriguing framing device of the film, in which the
camera follows a child through a marketplace until his trip is cut short
by a suicide bomber, will doubtlessly have
viewers debating the futility of the violence.
Produced by Kim McCraw and Luc Déry (the same pair of
powerhouse producers who brought you Incendies
and Monsieur Lazhar, and took Canada
to the Oscars two years in a row), Inch'Allah
boasts the kind of storytelling that intuitively intertwines the local and the
global. By providing such a relevant tale, Inch'Allah
aligns itself with Incendies and Monsieur Lazhar by offering a Canadian
film that shows progress beyond an idealized national cinema. Inch'Allah should play well
internationally when one considers its subject matter, not to mention the
credits of its producers. However, this film by Anaïs Barbeau-Lavalette is
another example of a well-constructed Canuck film that deserves to be noticed
on merit.
- See more at: http://www.cinemablographer.com/2012/09/tiff-review-inchallah.html#sthash.mHg4Bqnx.dpufTIFF Review: 'Inch'Allah'
Inch’Allah
(Canada/France, 102 min.)
Dir. Anaïs Barbeau-Lavalette, Writ. Anaïs Barbeau-Lavalette
Starring: Evelyne Brochu, Sabrina Ouazani, Sivan Levy
Inch'Allah comes
on a wave of films about Canada's relationship to the Middle East. For example,
Ruba Nadda’s Inescapable, which also
plays at the TIFF 2012, jets Alexander Siddig and Marisa Tomei to Damascus for
a politically-tinged thriller. The trend began with Incendies and its mythical tale about the devastating ravages of
the civil war in Lebanon. The film proved a bone fide hit. Then came Monsieur Lazhar and its sweet tale about Middle Easterners becoming
part of the Canadian cultural mosaic. There was also Afghan Luke, the inevitable CanCon turkey, but we'll just slip that
one under the covers. If we can't see it, the problem doesn't exist, right?
Inch'Allah tells
of the consequences of the civil war between Israel and Palestine. A Canadian
doctor named Chloé (Evelyne Brochu from Café de flore) find herself caught on both sides of the concrete wall that separates
the two territories, both literally and figuratively. Chloé is hired to work in
a clinic in Palestine and she lands the side job of being the personal nurse to
a pregnant young Palestinian woman named Rand (Sabrina Ouazani). As Chloé tends
to the wounds of Palestinians, she sees firsthand the violence and destruction
that ravages the land through war.
Chloé's experience in Palestine also teaches her that Israel
is a much safer place; consequently, she keeps an apartment in Jerusalem and
makes a daily trip across the border for work. Chloé can pass far more easily
than others can. In Israel, Chloé befriends a young woman named Avi (Sivan Levy)
who works in the Israeli army. Chloé’s friendship with Avi provides private
evidence of how deeply and personally this war cuts. Avi never states her
reasons for duty whenever Chloé enquires. The only excuse, from Chloé’s perspective,
is that it's hereditary.
Chloé’s friendship with a girl in either warring faction
leaves her straddling both sides of a complex situation. As much as Chloé tries
to remain neutral and apolitical, she cannot help but be persuaded to fight
with one side. One rowdy hooligan teases Chloé that “All sides is no sides.”
The comment is delivered with the implication of promiscuity, and Chloé cannot
help but feel cheap and dirty while watching bloodshed from the sidelines.
Anaïs Barbeau-Lavalette handles the complexity of the
Israel/Palestine setting with considerable care and skill. Dialogue about the
specificities of the divide is scant, aside from the odd comment that this rift
has strong roots rooted in religion and history. Rather than simplify such a
complicated story within dialogue that makes for an engaging film,
Barbeau-Lavalette doesn’t get mired in explaining too many details of the situation.
The writer/director is smart to leave politics aside for much of the film, and
she instead focuses on framing the bloodshed through a humanist perspective. Inch’Allah looks at the emotional and
psychological tolls that war has on the individual. The film certainly doesn’t
ignore politics; rather, it conveys them more subtly through symbolism and mise-en-scene. Inch’Allah will doubtlessly prove
provocative and controversial, but it’s important to remember that the film is
framed through the eyes of a foreigner who seems unable to scrounge up the
facts from parties fighting on either side. Moreover, any explanations fail to justify the killing that Chloé sees.
Anchored by an excellent performance by Evelyne Brochu, Inch’Allah
makes clear that the personal
is political. Through Chloé’s strained and war-worn eyes, the audience
sees a need to end the violence because it corrupts all. Chloé finds
herself
fighting in a land where nothing good can be produced, which is a fact
that is
stated powerfully in the climax of the film that brings Chloé and Rand
to the
border. Some viewers might object that the film frequently puts children
as the
targets of the violent attacks that are most central to the narrative,
but
these tragic deaths of innocents ultimately accentuate the senselessness
of all
the bloodshed. The intriguing framing device of the film, in which the
camera follows a child through a marketplace until his trip is cut short
by a suicide bomber, will doubtlessly have
viewers debating the futility of the violence.
Produced by Kim McCraw and Luc Déry (the same pair of
powerhouse producers who brought you Incendies
and Monsieur Lazhar, and took Canada
to the Oscars two years in a row), Inch'Allah
boasts the kind of storytelling that intuitively intertwines the local and the
global. By providing such a relevant tale, Inch'Allah
aligns itself with Incendies and Monsieur Lazhar by offering a Canadian
film that shows progress beyond an idealized national cinema. Inch'Allah should play well
internationally when one considers its subject matter, not to mention the
credits of its producers. However, this film by Anaïs Barbeau-Lavalette is
another example of a well-constructed Canuck film that deserves to be noticed
on merit.
