Marisa Films

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?

Since the declaration of the state of Israel in 1948, countless Palestinian villages have been erased from the map. This film uses poignant images of bombardments, destroyed buildings, and disfigured people to illustrate this. All that remains are ruins, bearing silent witness in the landscape. Ma'Loul, just west of Nazareth, is one such ruined village. It was inhabited principally by Palestinian Christians, who were forced to leave in 1948 during the Israeli War of Independence. A detailed painting still bears testimony to the existence of the village, which had seen Jewish, Roman, Ottoman, and Palestinian rulers come and go since ancient times. But Ma'Loul also lives on in the memories of its former -- now elderly -- inhabitants, who tell the story of exactly what happened.

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.

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.

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.