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The Best Annemarie Jacir Directed Movies

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poster

79

65

7.8

/4705/

74

/30/

80

/22/

3.8

/7380/

100

/25/

81

/71/

64

/5/

In 1936, as Palestinian villages revolt against British colonial rule, Yusuf navigates between Jerusalem and his rural home, amidst escalating unrest and a pivotal moment for the British Empire.

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81

54

7.3

/2187/

77

/52/

72

/51/

3.9

/3776/

100

/35/

86

/6/

After years abroad in Italy, Shadi returns to his native Nazareth. But this is no spectacular homecoming. He's back somewhat begrudgingly to honour his "wajib" (or duty) to hand out invitations to his sister's wedding with his father. The simmering tension between the two — who are often stuck in a car, more often than not in traffic — builds, exposing the sometimes-comic chasms that exist between men who live in different worlds but share an unshakable bond.

poster

62

43

6.8

/1630/

70

/29/

57

/23/

3.8

/3038/

54

/13/

66

/28/

43

/7/

Born in Brooklyn to Palestinian refugee parents, Soraya decides to journey to the country of her ancestry when she discovers that her grandfather's savings have been frozen in a Jaffa bank account since his 1948 exile. However, she soon finds that her simple plan is a complicated undertaking — one that takes her further from her comfort zone than she'd imagined.

poster

72

42

6.7

/999/

69

/21/

70

/22/

3.6

/1496/

83

/12/

72

/6/

72

/7/

Tarek and his mother Ghaydaa number among the tens of thousands of refugees crossing the border from Palestine, having been separated from Tarek's father amidst the chaos of the Six Day War. They ultimately settle at the Harir refugee camp, a makeshift home for a new generation displaced by conflict. Tarek dreams of being reunited with his father, and struggles to adapt to a new life far away from all he previously knew.

poster

64

19

6.7

/297/

63

/13/

51

/8/

3.8

/1392/

Occupied Palestine: A serene landscape now pockmarked by military checkpoints. When a Palestinian film crew decides to avert a closed checkpoint by taking a remote side road, the political landscape unravels, and the passengers are slowly taken apart by the mundane brutality of military occupation.

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10

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In “Spaces #3”, 7 internationally acclaimed directors shot, after commissioning by the Thessaloniki International Film Festival, a short film at home, making their own timely comment on the new reality that we live in. The project is inspired by the book “Species of Spaces” by the French novelist, filmmaker, documentalist, and essayist, Georges Perec and the days of quarantine. The idea is to create a film at home, using the environment, the people or the animals in that space. The only outdoor areas that may be used are outdoor living spaces, such as the terrace, the garden, the balcony and the stairwell. “Disconnect” is Annemarie Jacir’s submission.

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5.8

/26/

60

/1/

Ruwaysched is a no man's land at the border. The last village in Jordan before Iraq... I went there without a real scenario. I was looking for a story for my film for a couple of days until Anne-Marie, the director of photography, played a song for me from an Iraqi-Palestinian band while our car stalled at the Iraqi border. (Nassim Amaouche)

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The road from Jerusalem to Ramallah.

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Traces the five-minute walk that Iyad Hallaq, a disabled boy, would take from his family’s home to the special needs institute where he attended class — the same route upon which he would be senselessly killed by a sniper.

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Commissioned by the Locarno Film Festival for its 75th anniversary, 11 international filmmakers were invited to create a ‘Postcard from the Future’ from their respective countries. Annemarie Jacir’s entry, From Palestine with Love, depicts in one potent shot a concrete barrier wall falling down to reveal a tranquil beach with waves crashing softly at the shore and a child playing in the sand.

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One of 13 short films produced by the Palestinian Filmmakers’ Collective in the omnibus collection Palestine, Summer 2006.

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An architectural exploration of Columbia University in New York, where buildings only reflect each other, space is restricted, and objects concealed or only partially revealed. Small, hidden imperfections. Set against a montage of real phone messages received by Columbia University faculty, the viewer's imagination contributes to this portrait reflecting an atmosphere of American college campuses today.

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