팔레스타인과 이스라엘 정보기관의 치열한 정보 전쟁에 이용당한 여자들의 숨 가쁜 생존 투쟁을 그리고 있다. 나디아는 머리를 자르러 후다의 미용실에 들렀다 상상할 수 없는 일을 겪는다. 후다는 나다아에게 이스라엘 정보기관의 끄나풀이 되라는 협박을 한다. 어찌할 바를 모른 채 집에 돌아온 나디아는 후다가 팔레스타인 레지스탕스에게 체포됐다는 소식을 접한다. 후다의 미용실에 자신이 이스라엘 정보기관의 협력자임을 증명하는 사진이 있기에 나디아는 안절부절한다. 한편 후다는 팔레스타인 레지스탕스에게 자신이 어쩔 수 없이 이스라엘 정보기관에 협조했다는 사실을 말하면서도 나디아의 사진을 숨기려 한다. 두 여자는 적대하는 두 조직 사이에서 살아남을 수 있을까? (제26회 부산국제영화제)
On 2013, Faten is released from prison after serving a 20-year sentence for committing a horrific crime. She is forced to spend her night with Leila as a result of a curfew and she is subjected to another trial in search of answers to hidden questions about her
Layabout, clandestine lover, small-time hood – Mousa has all kinds of skills. A refugee camp resident, this Palestinian does not give a damn about his father’s hard-won permit to work legally in the Israeli part of Jerusalem – he would rather earn a living stealing Israeli cars and selling them to Palestinian fences. Mousa is convinced that his future lies far away from all the violence and constraints that characterise life in the divided city; his heart, moreover, belongs to a married woman. Following the theft of a Passat one day he is given a brutal goingover by Palestinian militia-men. On closer inspection of the vehicle, he makes a discovery which suddenly makes apolitical Mousa of interest to all sides …
An African American gospel choir is the Greek chorus for a Palestinian play on Martin Luther King, Jr. which tours the West Bank, preaching nonviolence. The devoutly Christian choir grew up in churches strongly allied with Israel. On their first trip to the Holy Land they witness the harsh realities of life under occupation, a nonviolent movement for justice, and an assassination. Our story is a unique view of a crucial human rights conflict. Mixing the excitement of foot-stomping gospel music and creative theater it reveals the power of art to communicate, heal, and give voice to communities living in fear. It is a cultural exchange of immense depth and far-reaching implications, where, during the course of the journey, people's preconceptions are radically changed.
After his recovery, middle-aged Hamza has continued a practice he began 20 years ago when he was freed from an Israeli prison: he goes into the woods every day to chase the lion that the locals don’t think exists. Hamza struggles to reach a peaceful place. Despite his wife’s pleadings and the villagers’ contempt, Hamza sits his baits and traps in the forest, hoping to defeat the mysterious threat. He finds refuge in his journey from social rejection and denial. In the woods, Hamza is free to act according to his beliefs, fighting his own battle to heal an open wound – the trauma of losing his childhood friend, and the horrific memories of torture and guilt.
