POPCORN REVIEWSS

Written by Annemarie Jacir, Palestine 36 offers a searing account of the Arab revolt in 1936, something that felt too close for comfort even in the Indian context. India being a colony of the British was divided – a part of it in Pakistan, and a part of it in Bangladesh. As things have turned out, the relations between each of these three countries is hardly peaceful today – much like the Palestine-Israel conflict that is met with silence from most parts of the world.

And you see seeds of the conflict early on when you witness a young widow Rabab (Yafa Bakri) explaining to her daughter Afra (whom you witness walking on an oil pipeline; a virtual metaphor on why Palestine was a British colony) that the Jewish settlers are here because they are unwanted by the British. It is also ironic in many ways because the entire contingent arrive with an intention to encroach the land of Palestine – so much so that Palestinians have to dig their own graves (literally and figuratively), or are even asked a permit to move from one village to another.

The drama offers a zoomed out perspective into multiple factions of the revolt, most told through its characters in the mix – an Arab Christian priest Father Boulos (Jalal Altawil) who is often met with suspicion even whilst his son spends time playing with Afra, Yusuf (Karim Daoud Anaya; apolitical at first but radicalized by the British later) who moves from his village to the city to work as a driver for a liberal leftist editor Khouloud (Yasmine Al Massri), even as the latter’s husband Amir (Dhafer L’Abidine) discreetly churns out propaganda through the editorials in exchange for money. This, even as the village hosts two rebels Hanan (Hiam Abbass) and Khalid (Saleh Bakri) who are known to speak their mind. On the other hand, the characterization of the British personnel remains a little binary – Thomas (Billy Howle) being the tender and understanding personnel who wishes to put humanity on the forefront, and Captain Wingate (Robert Aramayo) who wishes to impose the might of the British empire on the Palestinians.

The parallels that one can draw with the innumerous revolts against the British empire in the Indian context, cannot be ruled out. Be it Barrackpore or Jhansi or Gwalior – the story remains the same, even with the incorporation of the Peele Commission in Palestine that was met with bouts of revolt. In a scene, you see characters being trapped inside a house under blackout even as they witness gunshots at a distance. It is all but familiar with the state of affairs that unfolded later on as well.

It is interesting how certain visuals circling from modern-day Palestine make their way in the film, in a completely different timeline – a reminder on how the modern conflict had its roots traced to British imperialism and power. In a scene, you see a character being tied up at the front of a car while being used a human shield by the British, in another, you see pockets of hate being exercized by the British while trapping two characters inside their home and detonating it, or spreading out landmines to deliberately execute a bus full of ‘accused’ passengers, or even man-handling a woman who wishes to speak her mind out. One glance into the state of affairs today, and you would know that cruelty has a different name but the same address.

And each of these instances has a strong emotional core tagged to it – a boy witnessing his father for the last time, only to seek revenge in a game of hate that ensues, a family being displaced after a string of deaths, a couple separating on an account of their political ideologies, and the state of an ancient nation that is changed forever. In that sense, the events are heartfelt and reflective without wishing to compromise on its messaging. The open end is a direct continuation of where Palestine finds itself today – battered, bruised and fighting a lone battle, even as the world is silent and dismissive!