Written and directed by Annemarie Jacir, a profound surrealism is conveyed with Palestine’36. A film about a heavy topic that explores every angle for its conflict. The politics, the different religions, ethnic groups, regions—they all collide in a world of opposing obstacles. With the setting in year 1936, the stellar and invigorating tone is in the drama that fuels the fire. The focus is on the British Empire taking control. It does not put forth efforts to calm conflict down. The struggle is for power and control, and those who are innocent fight to have power as well. The writing is where the context of Jacir is spellbinding with Palestine’36, as it strongly imparts the theme of never giving up.

I was invigorated from the start of the film. It begins with archived footage of Palestine, delivering the message that there are unsettled conflicts–many of which continue today. The presence of hardship and lands in agony stirred my mind. The film’s main character is Yusuf, and he is played by Karim Daoud Anaya. Yusuf travels to the cities in hopes that he can have better opportunities, because his home continues to be impacted by conflicts. The British Empire impacts his people, continuously harassing his family, and everyone around it. The politics surround the Jewish and the Muslims and those closest to the center of Palestine where there is the majority of unrest. The unfairness and suffrage are surreal in their portrayal from the mind of Jacir. She is not afraid to present how damaging the hardship is to this society.

With all the unfairness of lands and politics, there is one man that sees the lands as opportunity for resources. That man is Thomas, and he is played by Billy Howle. Thomas consistently insists that the land should be used for its natural riches. Sadly though, this leaves him in the middle. With him being British he is linked to the British Empire and its interests. The faith of Yusuf and his family do not have high hopes with Thomas. He may be saying the land can be of good use, but that also means displacing or eliminating more individuals who live there. Ownership comes with a cost for Yusuf’s family, but so does Thomas and the teams he associates with.

The diversity aspect is one that seems to be two-sided. In a context that shows that faith is not strong with all that surrounds Palestine’36. It creates an atmosphere of chaos for good reasons because those who live on their land have their livelihoods thereas well. The big boss on British end of it all is High Commissioner Wauchope, played by Jeremy Irons. His performance is one that has a hierarchy that feels untouchable, as he goes by the rules of his regime. Segregation is the powerful component here. That does not stop Yusuf from fighting for land that is continuously shrinking.

A vivid and compelling portrait of the Middle Eastern setting is one that is just jaw-dropping. Faith and restoration find their angles. Overall, Palestine’36 is a film that may be hard for some viewers; however, it paints the portrait to not hate. It also paints a portrait of an understanding of why governments made harsh choices. Triumphant and exhilarating. I felt overwhelmed, but my faith kept being restored in Yusuf’s continuing journey in the film. Three-and-a-half out of four stars.