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8 films in package
Like Twenty Impossibles
A World Apart Within 15 Minutes
Between Jerusalem and Ramallah not only is there now a huge existing wall on the ground, but also a non-tangible wall in the minds and hearts of people. It is a short drive from here to there, yet when asked whether they know the way to Ramallah, many find it a hard question to answer. To them, Ramallah sounds far, seems far--it's a world apart within 15 minutes.
Going for a Ride?
Documenting the Art Installation “Going for a Ride?” made by the Palestinian Artist Vera Tamari. The installation is a statement on the aggressive and deliberate crushing of hundreds of privately-owned cars by Israeli tanks in Ramallah and El-Bireh during the military incursions in the two towns in 2002. It focuses on crushed cars because of the powerful meaning cars usually carry: freedom, the open road, travel and movement. In the film, the cars are brought to life again by searching into the memories of those who rode them.
Pasolini Pa* Palestine
In 1963, Pasolini visited Palestine to search for locations for his film, the Gospel according to Matthew. Pasoline Pa* Palestine seeks to revive various relations to Pasolini's trip and film through a repetition of his journey.
Sound of the Street
This witty satire draws a humorous comparison between a busy collection of ants and the liveliness of a Palestinian street. (Sound of the Street is one of 13 short films from the “Palestine, Summer 2006” collection, produced by the Palestinian Filmmakers' Collective.)
Not Just Any Sea
Last summer I was able to steal some moments near the sea which I have memories of from my childhood. I was there the only way I could be, illegally, without a permit.
Happy Days
Happy Days is a video that exposes everyday Palestinian life under Israeli occupation. In the video, a collage of footage shot on location in the occupied territories is accompanied by the theme music from the seventies sitcom “Happy Days”.
Ayreen Anastas and Nahed Awwad in Conversation with Kay Dickinson
Closed captions available

The Second Intifada heralded a particularly fresh, urgent and experimental approach to filmmaking, in tune with the uprisings to which they contributed. Working at a distance from both the main political organizations and, often, the aesthetic insistences of Global Northern art cinema funding, filmmakers took advantage of accessible technologies to forge new notions of freedom. The prolific body of work from this period does not just defiantly catalogue heightened colonial aggressions and appropriations, it does so with a wit and eclecticism of approach that touched diverse audiences at home and internationally. 


Featuring works by Ayreen Anastas, Nahed Awwad, Enas I. Al-Muthaffar, Annemarie Jacir, and Larissa Sansour


Curated by Kay Dickinson 

Filmmakers Ayreen Anastas and Nahed Awwad in Conversation with curator Kay Dickinson


Ayreen Anastas is an artist born in Bethlehem in Occupied Palestine, attended universities in Birzeit, Berlin, lived in Brooklyn for many years, has been involved since 1999 in “16 Beaver”, an autonomous movement space toward art, politics, and communal thought. She has been artist and agent for dOCUMENTA (13). She is, along with Rene Gabri, the only artist to have represented two countries in the Venice Biennale (Armenia and Denmark) without being a citizen of either. Her most recent film Black Bach Artsakh has premiered in the 2021 Berlinale.


Nahed Awwad is a Palestinian independent filmmaker and a film curator; based in Berlin. She has been working in Film and Television since 1997. She participated in several professional training in Canada, Qatar, and Belgium. In 2004 she got her film diploma from the European film college in Denmark. She released eight documentary films between experimental, short and feature length.

Awwad’s films were screened at various international film festivals, to mention few; HotDocs film festival, Canada 2013, “one world” Human right film festival in Prague, 2013, Vision du Reel Film Festival, Nyon, Switzerland in 2005 and 2008 and the Cannes Film Festival in 2008 (Cinema Sud). In 2009 she was granted the International Trailblazer Tribute -Middle East Trailblazer in MIPDOC.


Kay Dickinson teaches Film and Television Studies at the University of Glasgow. She is the author of Arab Cinema Travels: Transnational Syria, Palestine, Dubai and Beyond (BFI Publishing, 2016) and Arab Film and Video Manifestos: Forty-Five Years of the Moving Image Amid Revolution (Palgrave, 2018). More recently, she co-edited The Arab Archive: Mediated Memories and Digital Flows (Amsterdam: Institute of Network Cultures, 2020) with Donatella Della Ratta and Sune Haugbolle. Over the years, she has contributed in various ways to a number of festivals dedicated to Arab cinema, in the region, as well as in Europe and North America. She is a member of the Regards palestiniens and Regards syriens screening collectives.