‘You’re Not Thinking About the Film. You’re Filming to Survive.’

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As a movie critic, let me express that it’s scarcely common for a film without an American distribution deal to be Oscar-nominated, but that’s not the only extraordinary aspect of “No Other Land.” This documentary, jointly directed and written by Basel Adra, Hamdan Ballal, Yuval Abraham, and Rachel Szor – a group of Palestinian and Israeli filmmakers – offers a profoundly intimate portrayal of the emotional tolls experienced by witnesses to violence. Since its festival run, it has garnered significant attention, including Berlin’s mayor labeling co-writer Yuval Abraham “antisemitic” for his Berlinale acceptance speech, where he described Palestinians as living under an “apartheid.” However, “No Other Land” is so emotionally gripping and fundamentally compassionate that its political relevance never relies on the added publicity.

The documentary “No Other Land”, filmed from 2019 to 2023, highlights communities in Masafer Yatta, a group of Palestinian villages situated in the West Bank. Journalist Adra, holding a law degree and hailing from an activist Palestinian family, documents Israeli encroachments into their home village. This intensifies after the Israeli Supreme Court orders the eviction of 1000 Palestinians from Masafer Yatta to make way for a military training base. He records the destruction of homes, attacks on civilians, and assistance provided to illegal settlers perpetrating similar violence. Joining him is fellow journalist Abraham, an Israeli who opposes his government’s Palestinian policies. The movie follows both the systematic demolition of Masafer Yatta and their growing, often melancholic friendship.

“No Other Land” presents many disturbing scenes, such as an Israeli soldier shooting and paralyzing a villager whose family is then compelled to live in a cave due to home destruction, or Adra and Abraham fleeing from groups of masked settlers after capturing their ambushes. However, the film’s most poignant moments capture Adra and Abraham sharing hookah, discussing the injustice they face, and pondering their futures because Israeli law often denies them equal treatment.

Following a successful screening at Film at Lincoln Center in New York last November that qualified for awards consideration, the film “No Other Land” premiered at Film Forum towards the end of January and was nominated for the Best Documentary Feature Film at the Academy Awards. The directors are expected to attend the ceremony in March. Over the past week, the documentary has been shown in additional cinemas across the country due to funding from its producers. This film’s release coincides with alerts issued by organizations like Doctors Without Borders and various UN entities, such as UNRWA and the Human Rights Office, regarding a surge in Israeli aggression against Palestinians in the West Bank following the January 19 Israel-Hamas ceasefire in Gaza. Adra and Abraham, who joined our Zoom conversation separately, understand that their work is far from over.

Hey Cinema Buddy,
I’ve been noticing your recent posts about the unfortunate incident in Masafer Yatta from earlier this week. With all the ongoing violence against Palestinians in the West Bank since the Gaza cease-fire, I hope you’re doing alright.
Basel Adra: Thanks for checking in on me. It’s been tough, to say the least. We had another attack just two days ago, and there was another one last week at a friend’s home where they torched his car. Physically, we’re fine, but emotionally, it takes its toll. It’s distressing to know that settlers can approach our homes day or night without any protection. The police and army here seem more like servants of the settlers rather than enforcers of peace. But, I guess this is our reality.

In the movie, there are numerous scenes that align with your description, and one sequence I’d like to discuss is when Israeli soldiers came to your village to apprehend you. Given a soldier had previously threatened you in the documentary, this event wasn’t entirely unexpected. You chose to depart from your family home and conceal yourself as they arrived. While Yuval recorded the search of the village, he also confronted them. Could you share your recollections of that experience? How did you ready yourself for filming that night?

Rachel and Yuval often spent nights at my place while we were collaborating on our movie project. Our work was primarily done from home, and we’d venture out together into the field. I chose not to film the soldiers when they came looking for me, but Rachel and Yuval, being Israelis, had the advantage of using their camera in front of the soldiers without repercussions. As a Palestinian, my situation was different; I didn’t feel safe enough to do the same. However, Rachel and Yuval chose to stay and film the soldiers, with Yuval even engaging in an argument with them.

It appears you were hidden behind a rock wall. From your location, it wasn’t possible for you to see everything that was happening, but you did catch a glimpse of the vehicles on the road near your house and soldiers moving in and out. You made sure to stay where you could observe them while they couldn’t spot you.

YA: That night remains quite terrifying. It followed a protest involving Palestinians, Israelis, and international nonviolent activists after Harun Abu Aram, a local man from Masafer Yatta, was shot by a soldier during an attempt to build a house with a generator. Sadly, he was later killed. The soldiers had shown signs of returning at night to possibly target Basel, as we observed military and police vehicles gathering at the village’s entrance. It’s worth noting that daytime home demolitions are easier to film, but when they occur at night, the aggression escalates significantly. They often damage or take cameras, making it even more perilous to document such events. Basel had pointed out that he wouldn’t be able to film as much due to the increased danger.

It’s clear that it was freezing cold outside, and the soldiers moved from house to house, querying, “Where can we find Basel?” I didn’t argue with them much. A soldier approached me and ordered me to gather all my belongings from Basel’s house, to clear it out. All I could do was ask, “Is this being done as retaliation for the protest?” I spoke to them in Hebrew. “Is this some form of retribution or not?” They didn’t respond to me. The moment they departed and I confirmed that Basel was safe eased my concerns, although I had been quite worried about him. And then the entire family gathered together, using humor as a means to cope with the situation in their own way. Rachel, our cinematographer, is incredible. Despite her petite stature, she always seems to find herself in diverse situations and manages to blend in. She even gets close to the soldiers. I believe she’s one of the bravest individuals I know, and she managed to capture it all on film.

It caught me off guard in this scene, and it persisted throughout the movie, that the soldiers were filming us. I’m intrigued to know why they are recording us, and if either of you have any insights on their reasons for doing so. What do you think, Basel?

The soldiers are consistently filming, whether it’s using cameras attached to their heads, chests, or their personal phones. I suspect that some of these recordings are often shared with settlers near the outpost, or with settler newspapers and TV stations, as they share a common circle. There have been instances where someone was arrested and photographed in a military Jeep, and these images end up on social media, undoubtedly sourced from an Israeli soldier in the vehicle. The settlers often know our names and personal details, even those of international activists who visit our area. I also believe that they do it for entertainment, sharing footage with their WhatsApp groups or families. Additionally, it’s likely used for security purposes, to record actions and inform commanders. For instance, when they declared a specific area as off-limits, they might film this before taking any action against individuals in the area.

In our experience at Masafer Yatta, we only have one means of action – our cameras. The soldiers are armed and may use their weapons, and sometimes it seems they’re trying to retaliate by filming us when they see us doing so. This is just a perception I’ve had, as I’ve noticed that the soldiers often take out their cameras only in our presence. It feels like they don’t want us to observe them. They seem to believe that it’s those in power who are supposed to be watched, not those under control. This dynamic may contribute to the overall situation.

BA: Regrettably, there were instances when we contemplated whether to continue filming due to safety concerns. It’s challenging to ensure physical safety, especially during night attacks on Palestinian communities as depicted in the documentary. Moving around from one community to another can be terrifying because part of the road requires walking in the dark, making it difficult to distinguish soldiers and increasing the risk of gunfire. This uncertainty adds to the fear.

https://youtube.com/watch?v=1054197629?share=copy

In this specific situation, you both chose to keep recording. Could you share your recollections of these violent incidents, and how you two collaborated as documentarians while these attacks were unfolding?

In 2021, I received a call about 60 to 80 masked settlers wreaking havoc in a community close to mine. Rushing there, I began filming what I witnessed – a shocking sight of settlers swarming around homes, destroying properties, and throwing stones. Soldiers were firing tear gas, stun grenades, and live ammunition. I captured only a few minutes of this massive attack on record before the settlers, noticing my camera, pursued me to physically harm me. Thankfully, I managed to escape.

During that assault, the settlers moved from the affected community to mine, where a soldier attempted to shoot me. Fortunately, Yuval was there on the opposite side, continuing to film and urging the soldier not to fire at me. Seeing that Yuval was also recording him seemed to make the soldier reconsider his actions.

On one particularly challenging day, we faced an attack by settlers. That morning, I was not in Masafer Yatta, but in my home in Jerusalem. I received a frantic voice message from Basel on WhatsApp, his voice filled with urgency. He mentioned something about a pogrom, which immediately set off alarm bells. My heart raced, and I sped off to the scene as quickly as possible, knowing that the situation was dire.

Upon arrival, I found myself amidst soldiers and masked settlers. The air was filled with rocks being hurled at us. Some were easy to dodge as they were thrown by hand, while others came fast, almost like bullets, from slingshots. I recall looking up at the sky and seeing it littered with rocks. I saw a soldier pointing his gun at Basel, so I warned him that I was filming him in Hebrew.

In our work as both movie-makers and local activists, we swiftly discovered that having just one camera was insufficient due to the unpredictable nature of the situations we found ourselves in. To ensure safety, it became essential to have another person operating a second camera, capturing the cameraman himself. This precaution was necessary because if not, the cameraman could potentially be harmed or attacked. The environment was chaotic and fear-inducing, making it challenging even to hold the camera steady. In such tense moments, our primary focus wasn’t on filming for artistic purposes but rather using the camera as a means of survival.

While this isn’t always necessary, as demonstrated today in the Gaza Strip, having the assurance of being filmed can sometimes discourage aggression. The act of filming during these instances served multiple purposes: providing evidence of events that could otherwise be distorted or fabricated and offering a means to survive the situation.

Basel’s courage in capturing the attack on video was pivotal, as it would have been much easier for the settlers and army to concoct false narratives without his footage. The camera served as undeniable proof and evidence of what truly transpired. Immediately following the event, we shared the videos of the attack on social media platforms, which quickly spread across the globe.

Question: After the demolition of the school you attended as a child, Basel, which was constructed secretly when you were young, could you tell us how those children are being educated currently? Has the village managed to build another school for them?

BA’s Response: That day was heart-wrenching. On what seemed like a regular school day, soldiers arrived and ordered everyone to leave so they could demolish their school. At first, both students and teachers resisted, intending to protest this decision. The villagers too gathered, men and women alike, in an attempt to prevent the destruction of the school. Unfortunately, the soldiers forced entry into the school, trapping the students inside while using stun grenades against the adults and villagers. This caused panic among the children, who were unaware of what was happening outside due to the noise and explosions. Some even jumped from windows to flee towards their homes. Yes, it was indeed destroyed. For a short time, they received funding for tents but soon after, these were confiscated by the military. Currently, the children are studying in an old cave and a room donated by one of the villagers.

Despite not receiving a distribution deal in the U.S., No Other Land wasn’t nominated for this year’s Academy Award for Best Documentary Feature. However, I can’t help but wonder about your feelings regarding the nomination given that it could potentially increase the film’s visibility and reach a larger audience. For us, the creators of No Other Land, we believe that the movie has the power to educate people beyond just being a piece of entertainment. By watching No Other Land, viewers can gain valuable insights into daily life under occupation, particularly those who may not fully understand the situation. The story of Masafer Yatta as told in No Other Land offers an enlightening perspective on reality and the conditions in that region, making it an essential and impactful piece of work.

We’re extremely grateful for the Oscar nomination, as Basel mentioned, it offers us a chance to reach a larger audience, particularly in the U.S., where we’ve faced obstacles getting our film shown widely due to political reasons. I hope the Oscar might help overcome that challenge. It’s worth noting that this journey has been lengthy, as highlighted in the film, requiring immense patience. Yes, the Oscar night is significant, but our commitment remains unwavering until the occupation ceases and a fair political resolution is achieved, ensuring freedom and justice for all inhabitants of this region. Let’s also remember to stay grounded throughout this process.

After the Israeli soldiers leave, one of Adra’s relatives jokingly chastises the family’s children, who complain about having to get up for school the next day: “For the army, you wake up fast.”
Abraham wrote about the killing of Harun in February 2023 for +972 Magazine. The piece begins, “Harun Abu Aram is dead. For two years, he lay completely paralyzed in a dirty cave, without running water, plagued by pain. This was his life from the moment an Israeli soldier arrived in the South Hebron Hills, in the occupied West Bank, to confiscate an electric generator and shot Harun in the neck in January 2021.”

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2025-02-12 19:55