Marisa Films

On December 31, 1980, between England and the mainland, two anonymous passengers were fouled by the British and Belgian authorities and found themselves prisoners on board the car ferry connecting the two frontiers.

A Palestinian seeks Israeli permission to waive curfew to give his son a fine wedding. The military governor's condition is that he and his officers attend. The groom berates his father for agreeing. Women ritually prepare the bride; men prepare the groom. Guests gather. The Arab youths plot violence. One Israeli officer swoons in the heat and Arab women take her into the cool house. A thoroughbred gets loose and runs to a mined field; soldiers and Arabs must cooperate to rescue it. As darkness falls, tensions between army and villagers rise, and the groom's wedding-night anger and impotence threaten family dignity and honor. Can cool heads prevail?

Fragments of a text by Jean Genet – “Four Hours in Chatila” – are illustrated by summer images of a park in Brussels. The contrast between what is seen and what is said attempts to stop, to break the flow of information which tends to neutralize horror.

A portrait of two Palestinian women whose individual struggles both define and transcend the politics that have torn apart their homes and their lives. Farah Hatoum, a widow living with her children and grandchildren, and Sahar Khalifeh, a novelist from the West Bank.

After the destruction of the Palestinian village of Ma’loul in 1948 and the forced displacement of its inhabitants, the site remains uninhabited. Each year, former residents are allowed to return for a single day, gathering among the ruins to share memories, recount the village’s past, and introduce younger generations to a place they cannot permanently inhabit, sustaining collective history through ritual return and testimony.