Behind the Scenes of a Film Made Amidst War: A Director’s Journey of Hope and Resilience

by

Cherien Dabis, a Palestinian-American with multiple talents, is set to return to Sundance for the third time – following “May in the Summer” and “Amreeka” – this time with “All That’s Left of You.” This moving epic delves into the stories of three generations of Palestinians, offering an insightful origin account of their struggles at a particularly relevant juncture.

The play, inspired by a Palestinian teenager facing off against Israeli soldiers at a West Bank demonstration (following which his mother narrates the incidents leading up to that critical moment), was being prepared for filming in Palestine. However, the Israel-Hamas conflict erupted, causing Dabis and the team to move locations instead.

In the text below, Dabis shares with EbMaster her deeply personal bond to this significant project and the factors fueling her optimism for the Palestinian community, even when faced with the disappointment brought on by political leaders who haven’t delivered.

In the text, Dabis confides in EbMaster about the emotional tie she has to this substantial undertaking and the motivations behind her belief in a better future for the Palestinian populace, despite the disillusionment stemming from failed political leaders.

It’s evident that you hold a deep affection for this movie. Could you share with me what inspired you to translate this multigenerational tale onto the big screen?

For quite some time, I’ve been pondering over this idea. It struck me as peculiar that our origin narrative seemed incomplete. Specifically, I noticed a significant gap in understanding the roots of Palestinian hardship, particularly the circumstances that led to their displacement and ongoing status as refugees. This void was glaringly apparent within the historical context.

On a personal level, my father, a Palestinian refugee, experienced much of this story firsthand. He spent most of his life in exile, compelled to acquire foreign citizenship merely to revisit his family in the West Bank—the only home he’d ever known. Certain parts of the narrative I lived alongside him, while others have remained an integral part of my own journey.

Ultimately, these two aspects—my personal experiences and the stories that have stayed with me—served as the primary motivations behind creating this film.

Tell me more about the personal aspect.

The first time I ventured to Palestine was when I was eight years old, and our stop at the Allenby Bridge border crossing between Jordan and the West Bank lasted approximately 12 hours. We were questioned, our belongings were scrutinized, items were taken away. Soldiers demanded that we undergo a body search, even my baby sisters, who were only 3 and 1 years old. My father, feeling deeply embarrassed, challenged them, which led the soldiers to verbally abuse him. I was absolutely terrified they would harm him. This incident, I must say, significantly shaped my understanding of what it means to be Palestinian.

Were you making preparations to carry out a shooting when the October 7th incidents occurred, leading you to move to Cyprus and Greece? Could you share your experiences during this transition period?

As a passionate film enthusiast, I must say that the production journey of this film was nothing short of extraordinary. Initially, we had intended to film approximately 90% of the movie in Palestine, but only about 10% was destined for Cyprus. We had meticulously prepared the entire project in Palestine, even constructing our refugee camp set in Jericho. Our team was brimming with energy and momentum. However, just as we were about to roll the cameras, everything came to a sudden and abrupt halt. There was so much narrative to unravel there, and it was heart-wrenching to realize that we would have to evacuate.

The responsibility of ensuring the safety of my foreign crew members fell upon me. Their families were urging them to leave, and I felt a deep sense of obligation towards everyone I had brought together for this project. Thus, I found myself in a race against time to extricate my team from the situation. This unexpected turn of events plunged our film production into a monumental, not just logistical, but financial crisis.

In that moment, I understood that I was not merely directing a movie; I was steering a ship through stormy waters or managing a company on the brink of collapse. The logistical turmoil encompassed everything from embassies shutting down to facilitating the safe exit of our Palestinian crew from the West Bank. It was indeed a daunting task, as if we were simultaneously making a film about the ongoing events and living a surreal parallel experience within the realm of art.

Regarding the significance of the movie’s plot, it presents a symbolic scenario that hints at a ray of optimism. Now that the Israel-Hamas truce is in effect, I’m curious about your expectations and opinions concerning the future outlook for the Palestinian community.

I penned this film many years ago, and ever since, I’ve held onto hope. I believe the Palestinian people share this sentiment as well. In the movie, my character expresses this sentiment explicitly with the line: “We never lose hope.” This statement holds a profound significance today, given the recent ceasefire. I fervently pray that it signifies the start of something meaningful. Primarily, I wish for it to mark a time of mourning and healing. I believe the film has the power to inspire such emotions. My goal in creating it was always to shed light on the pain experienced, acknowledge the past wrongs. Only by acknowledging the suffering and injustice can we hope for a path forward. If we can do this, perhaps we can take steps to rectify the situation, make those who suffered feel seen, and build something genuine upon that foundation.

I’m hoping that this work will foster a feeling of familiarity, stimulate dialogue, provide a therapeutic release, especially for my community. I’d like it to arrive at an opportune moment in the world’s events, so that perhaps, these paths mirrored by the film, art, and life, for this specific project, might intersect in a meaningful way. Maybe there’s potential for this movie to spark inspiration.

In a recent conversation, I spoke with the directors of documentary “No Other Land,” who expressed strong doubt about any positive change for Palestinians as long as Netanyahu remains in power. I’d love to hear your perspective on this issue.

I’m not at all taken aback by the reaction. The optimism the film presents isn’t political optimism, in my view. Politics has let us down, and that’s quite apparent. I don’t have confidence in political institutions. Instead, I’m talking about hope for humanity; hope that individuals can recognize injustice. Hope that people can retain their humanity, act with compassion. I believe this is what the movie encourages. It’s not about placing faith in politicians, but rather each of us taking responsibility. In these challenging times, it’s difficult for me as a Palestinian to speak of hope when we’re going through one of the darkest periods in our history. So I won’t do that. But what I will say is that I have faith in people. I have hope in humanity. Over the past few months, we’ve seen people awaken and truly grasp what’s happening, and that’s what offers any of us optimism, I believe. That’s what gives Palestinians hope right now.

This interview has been edited and condensed for clarity.

Read More

2025-01-22 15:47