A timely debut eloquently evaluates elements of the human condition when plagued by grief.
Recently shown at Broadway, writer and director Farah Nabulsi makes her feature-length debut as we witness one of the most devastating conflicts develop on our screens. Nabulsi’s previous Oscar-nominated short, The Present, details the difficulties of simply buying an anniversary gift within the Occupied Palestinian Territory. Her latest work, The Teacher, presents occupation on an even greater scale, from differing perspectives.
The plot emerges from the West Bank, following Palestinian school teacher Basem (Saleh Bakri) as he tries to restore his commitment to political resistance through his father-figure relationship to one of his most hopeful pupils, Adam (Muhammad Abed Elrahman). Basem is forced to reignite his past and face the uncertainty of war when Adam’s older brother Jacoub (Mahmood Bakri) is killed by an Israeli settler.
From the beginning, we are given differing visuals as to what everyday life is like in the West Bank: beautiful scenic car journeys through winding mountain roads, bustling city centres full of life, and lively markets packed with citrus-coloured produce; these are starkly juxtaposed with images of checkpoints and home raids. In the opening minutes, Yacoub and Adam are forced to watch as their home is destroyed by Israeli troops, before being handed a bill for their work. You are immediately filled with anger and frustration.
This feature is a tense and gripping narrative, offering humanity to a place dominated by headlines
This point of view is what follows Adam throughout the entirety of the film, as he struggles to see a future where genuine justice is achieved. But this is a feature of differing viewpoints, with Adam and Basem emulating the prominent outlooks. We have the older and wiser (yet still rather angry) Basem, and the younger, more emotional and violently vengeful Adam.
Beyond these main characters, there are portraits of nameless street sellers who evoke an undeniable power. In one particular scene, a slow-motion camera shot on their faces looking directly toward the camera could have been clichéd. Instead, you can almost feel the weighted expressions, altered by a history of living under occupation.
There are other subplots, such as the romantic relationship between Basem and an English volunteer at the school, Lisa (Imogen Poots). However, they struggle to hold their own against the raw magnetism of Basem and Adam’s relationship.
This feature is a tense and gripping narrative, offering humanity to a place dominated by headlines. Not only is it a fantastic cinematic experience, but it also prompts dialogue into questions the international community has been avoiding for far too long.
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