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Speaker 1: On the Bechdel Cast, the questions ask if movies have

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Speaker 1: women and them, are all their discussions just boyfriends and husbands,

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Speaker 1: or do they have individualism? It's the patriarchy, Zephyn Beast,

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Speaker 1: start changing it with the Bechdel Cast.

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Speaker 2: Hello, and welcome to the Bechdel Cast. My name is

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Speaker 2: Caitlin Durante.

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Speaker 3: My name is Jamie Loftus, and this is our podcast

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Speaker 3: where we take a look at your favorite movies using

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Speaker 3: an intersectional feminist lens, using the Bechdel Test as a

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Speaker 3: jumping off point. Wow, Caitlyn, what what the hell is that?

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Speaker 2: It's a media metric created by queer cartoonist Alison Bechdel,

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Speaker 2: sometimes called the Bechdel Wallace Test. It has many variations.

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Speaker 2: The one that we use is do two characters of

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Speaker 2: a marginalized gender have names? Do they speak to each other?

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Speaker 2: And is their conversation about something other than a man?

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Speaker 2: And we like it when it's a narratively relevant conversation.

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Speaker 3: Which will not be a problem with our episode today,

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Speaker 3: which is why it's a jumping off point for a discussion. Yes,

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Speaker 3: because our podcast has been on for over eight years

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Speaker 3: now and Alison Bechdel, I think is very kindly, politely

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Speaker 3: ignored our existence for the better part of a decade.

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Speaker 3: I do at this point sort of like, I'm like,

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Speaker 3: I wonder if we hit ten years, if she'll just

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Speaker 3: like pop out of the floorboards, Like I feel like

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Speaker 3: she should throw us a surprise party.

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Speaker 4: Is that?

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Speaker 3: What do you think?

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Speaker 2: Yeah, I mean we've talked for a long time about

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Speaker 2: having her as a guest on the likes.

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Speaker 3: Her emails, so it's like she also wants nothing to

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Speaker 3: do with us, but she hasn't sued us.

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Speaker 2: Have we emailed her? I think we have been too scared.

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Speaker 3: I think we did when the podcast started, which was

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Speaker 3: un The hubris of that is just like absurd. We're

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Speaker 3: just like, hey, we're two people ripping off your likeness.

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Speaker 3: Will you do free labor for us? Like we've grown,

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Speaker 3: we've learned. I just sort of, you know, someday, someday, I.

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Speaker 2: Have no memory of this. I thought we were always

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Speaker 2: too frightened.

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Speaker 3: I have to go back into the archives. I feel

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Speaker 3: like we were so flagrant at the beginning in our youth.

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Speaker 2: Could be in any case.

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Speaker 3: In any case, we are here with the do episode.

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Speaker 3: We're very excited.

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Speaker 2: So the movie we're covering today is Salt of This

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Speaker 2: c a two thousand and eight movie written and directed

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Speaker 2: by Anne Marie Jacir, and we're so excited to talk

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Speaker 2: about it. And we're so excited to talk to our

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Speaker 2: guest today, who is a film programmer at Brooklyn Academy

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Speaker 2: of Music, the curator of Cinema Arabia. She's a former

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Speaker 2: director of film programming at the Arab Film and Media Institute.

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Speaker 2: It's Yesmina tweel Hi, Hello and welcome.

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Speaker 4: I'm so happy and excited to be here.

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Speaker 2: We're delighted to have you.

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Speaker 3: We're so excited you're here.

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Speaker 2: Something I didn't list in your credits, but I think

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Speaker 2: is important to mention is that you also studied at

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Speaker 2: Boston University and have a degree in film. It's not

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Speaker 2: a master's degree in screenwriting, which is something that I

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Speaker 2: would never mention having.

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Speaker 4: But it's not and I put it specifically in my

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Speaker 4: email to you to make sure you knew.

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Speaker 2: I'm glad you did.

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Speaker 3: But that does mean statistically all three of us have

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Speaker 3: like someone has coughed in our mouths on the green line,

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Speaker 3: and I feel like that's a beautiful bonding experience. Well,

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Speaker 3: thank you so much for being here. And for bringing

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Speaker 3: us this movie. If you're in the US and you

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Speaker 3: have a library card, you should be able to watch

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Speaker 3: this film on canopy right now. That's where I believe

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Speaker 3: we watched it. But I wanted to start before we

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Speaker 3: get into Salt of this Sea. I mean when you

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Speaker 3: sent us, you sent us a really comprehensive list of

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Speaker 3: movies that would be good for us to talk about,

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Speaker 3: but so many of them were difficult to stream. So

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Speaker 3: because you've been such a huge supporter and curator of

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Speaker 3: Arab cinema in a country where it is just like

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Speaker 3: not as easy to access Arab cinema, I want to

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Speaker 3: know a little bit about your experience in this space

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Speaker 3: and what you're doing right now.

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Speaker 4: Yeah, So for some context for listeners, I am Arab,

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Speaker 4: as one would hope. I was born in the US,

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Speaker 4: but my mom is from Lebanon, my dad is from Syria,

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Speaker 4: and I actually didn't grow up with Arab cinema really.

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Speaker 4: I know my parents had a couple of VHS tapes,

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Speaker 4: but it wasn't until maybe it was in high school

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Speaker 4: that I watched a couple things they had West Beiru

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Speaker 4: and Caramel, which to this day or two of my

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Speaker 4: absolute favorite films. But when I really started getting into

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Speaker 4: it was when I started volunteering with the Arab Film

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Speaker 4: and Media Institute. At the time, it was just the

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Speaker 4: Arab Film Festival, and I started writing the blog for them,

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Speaker 4: and I kind of got a hands on education in

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Speaker 4: Arab cinema, particularly contemporary Arab cinema. It also led me

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Speaker 4: down some paths of learning about the cinema industry in

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Speaker 4: these different countries as well, and so I taught myself

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Speaker 4: a lot just through that. I'd always been very proud

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Speaker 4: of my heritage and was studying film, so it just

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Speaker 4: kind of went hand in hand that I would start

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Speaker 4: working in that space beyond just volunteering and writing the blog,

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Speaker 4: and was very honored to be brought on as the

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Speaker 4: director of Film Programming in twenty twenty one, and then

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Speaker 4: it just kind of my involvement in the Arab cinema

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Speaker 4: space just kind of exploded out from there.

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Speaker 2: That's great, Yeah, but.

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Speaker 3: It seems like you're like truly a fixture in the

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Speaker 3: New York film scene at this point. I like to think, so, yeah,

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Speaker 3: and we're going to declare it here right now because

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Speaker 3: we definitely have that power. Yeah, I mean, going off

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Speaker 3: of that. What is your history with this film in

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Speaker 3: particular and this director's work.

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Speaker 4: Yeah, so, Anri Yasser is one of the most famous

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Speaker 4: filmmakers from the region, and I had noted about her

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Speaker 4: work for a while. I can't remember when I saw

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Speaker 4: this film for the well, I think it wasn't that

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Speaker 4: long ago, actually, but I actually saw Ann Marie's film

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Speaker 4: Lajib first many years ago in Beirut, and then Salt

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Speaker 4: of This Sea only more recently in the last few years.

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Speaker 4: But both films made me completely fall in love with her.

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Speaker 4: And she has such a way of capturing just the

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Speaker 4: human experience, but the human experience that happens to be

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Speaker 4: in Palestine and speaks to all the bigger sort of

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Speaker 4: social and political ramifications of living under occupation in her stories.

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Speaker 4: But yeah, so this film is fairly new to me,

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Speaker 4: but I've been familiar with An Marie's work for many

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Speaker 4: many years.

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Speaker 2: Nice, yeah, Jamie, how about you.

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Speaker 3: I hadn't seen this before. I had seen one of

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Speaker 3: Henry Jasser's more recent shorts. It was very short. My

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Speaker 3: friend Kavon put together a like streamed Palestinian Shorts presentation.

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Speaker 2: I want to.

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Speaker 3: Say, like around this time last year and there was

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Speaker 3: a short she directed in I Have It up Here

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Speaker 3: twenty twenty two called from Palestine with Love. That is

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Speaker 3: it's four minutes long, but it was really really beautiful.

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Speaker 3: You should check it out if you're able. But it's

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Speaker 3: basically a series of cement blocks being removed to reveal

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Speaker 3: this gorgeous beach and children playing on the beach. And yeah,

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Speaker 3: so that was my experience with her work. I also

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Speaker 3: now looking at her IMDb page, realized she's directed an

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Speaker 3: episode of Romi. So I have seen whatever episode she directed,

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Speaker 3: I've seen it every episode of that show.

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Speaker 4: I think it's the one that takes place in Palestine,

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Speaker 4: or maybe there's a couple that take place in Palestine.

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Speaker 3: Let me check. Oh yes, yes, yeah, it's from also

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Speaker 3: twenty twenty two Egyptian Cigarettes. Yeah, I guess I was

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Speaker 3: semi familiar with her more recent work, but had not

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Speaker 3: seen Salt to This Sea before. And it's so I

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Speaker 3: just I really was like blown away at the sort

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Speaker 3: of ease of her writing too, and how there are

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Speaker 3: so many complex things. I mean, if you're not familiar

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Speaker 3: with the Israeli occupation and the plight of the Palestinian people,

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Speaker 3: it is a lot of information to convey, but it's

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Speaker 3: conveyed through It's just so naturally conveyed. And you also

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Speaker 3: kind of get this. This is like a maybe dumb

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Speaker 3: thing to harp on, but I was really blown away

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Speaker 3: at how how often we talk about on the show

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Speaker 3: how forced love stories feel, and how natural this one felt,

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Speaker 3: and how just like her writing is so effortless, where

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Speaker 3: even when you don't agree with what a character is doing,

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Speaker 3: you completely understand why they're doing it. And anyways, Yeah,

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Speaker 3: it's great. I'm excited to watch more of her work.

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Speaker 2: Yeah, Kaitlyn, this was my first film of Amory Jasser's

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Speaker 2: and I loved it. I think this is such a

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Speaker 2: movie moving, beautiful film, and all my notes on like

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Speaker 2: the discussion part of this episode is just gonna be

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Speaker 2: me being like and then this scene which is really

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Speaker 2: good and has this really amazing commentary.

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Speaker 3: It's just a really good movie. I mean, it's just yeah,

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Speaker 3: it's wonderful.

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Speaker 4: Yeah. I did. When you were asking me for films,

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Speaker 4: I was trying to think of some of the like

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Speaker 4: lighter but like high quality worth talking about films, And

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Speaker 4: I think this film is a great introduction for a

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Speaker 4: lot of American audiences but yeah, I was real listening

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Speaker 4: to old episodes before this, and I was like, oh,

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Speaker 4: this is gonna be a hard one to rip on.

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Speaker 2: Well, just because we mostly do that on most episodes.

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Speaker 2: It's just because a lot of movies are horrid, yeah,

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Speaker 2: and they make it easy for us to dump on them.

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Speaker 2: But when the movie is really good, will be nice.

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Speaker 3: It was also really interesting seeing like how well we'll

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Speaker 3: talk about it, but like how collaboratively the story was built,

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Speaker 3: where the star of the film is also a writer

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Speaker 3: and is pulling from her own experience to build out

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Speaker 3: her character. And I just I'm just excited to talk

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Speaker 3: about it. I love collaboration with women.

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Speaker 2: This is great. You love to see it.

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Speaker 3: You just love to see it.

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Speaker 2: Let's take a quick break and then we'll come back

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Speaker 2: for the recap. Okay, here is the recap for Salt

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Speaker 2: of This Sea. We open on images of buildings being bulldozed,

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Speaker 2: people being removed from their homeland, images from the Nakba

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Speaker 2: of nineteen forty eight. Then we cut to the present

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Speaker 2: or the present of this film, which is, you know,

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Speaker 2: two thousand and eight. We meet Soya Tahani played by

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Speaker 2: Suher Hamad A Brooklyn born Palestinian American woman who has

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Speaker 2: just a in the occupying, genocidal state that is Israel.

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Speaker 2: The Israeli officials are interrogating Soraya about why she's there,

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Speaker 2: about her name, her religion, her ethnic background. They strip

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Speaker 2: search her body, they rifle through her luggage, you know,

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Speaker 2: just put her through this all around degrading experience, and

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Speaker 2: finally she's released and allowed to go. Onward, we learn

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Speaker 2: that her grandfather was born in the Palestinian city of

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Speaker 2: Yafa before he was forcibly removed during the Nakpa and

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Speaker 2: displaced to Lebanon, where both of Soria's parents were born.

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Speaker 2: Her father recently passed away, which seems to be what

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Speaker 2: has inspired her to take this trip. She travels to

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Speaker 2: the city of Ramala in the occupied West Bank, where

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Speaker 2: she links up with her friend Karn, who I think

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Speaker 2: is in like one or two scenes, and then she's

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Speaker 2: I know, I kept being.

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Speaker 3: Like, Where's Where's Coronette, But then I kind of forgot

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Speaker 3: after a while because I just got into the other characters.

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Speaker 2: For because she goes to this restaurant. Sarah goes to

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Speaker 2: a restaurant with Karin with other people who are like

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Speaker 2: rude and entitled to the wait staff, and I was

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Speaker 2: just like, if this, if this is who Karen's hanging

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Speaker 2: out with, I don't really I don't really care much

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Speaker 2: for her. And speaking of the there's a waiter at

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Speaker 2: this restaurant and we're like, hmm, I wonder if he's

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Speaker 2: gonna come up again later. He's too handsome not to

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Speaker 2: show back up.

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Speaker 4: Young Salah Bakri.

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Speaker 3: Ugh, right, this is like one of his breakout roles, right.

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Speaker 4: Yes, yes, that was something that I was so delighted

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Speaker 4: the first time I saw it. I was like, look

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Speaker 4: at this little baby Salah Bakri. So like, sorry to

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Speaker 4: interrupt you, Caitlin, but no, please her listeners. Slav Backriy

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Speaker 4: is like a prolific Palestinian actor. You like, actually may

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Speaker 4: have seen him in some American works, nothing like super

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Speaker 4: notable on the American Well, actually, I take that back.

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Speaker 4: The film that got the most famous in the West

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Speaker 4: was The Band's Visit. He was in that, Oh okay,

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Speaker 4: But he's been in some smaller indie films from Europe

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Speaker 4: and the US and then in like every other Arab film.

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Speaker 4: He's a fantastic actor. He's an absolute sweetheart and he

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Speaker 4: is so hot. At every age too. And his father

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Speaker 4: is really hot and a great actor and a great

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Speaker 4: director as well. But they have beautiful genes in the

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Speaker 4: Bakery family. Oh and his brother too, Adam's an actor too.

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Speaker 3: So he's from like a Palestinian film family. Yes, yeah, cool,

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Speaker 3: I was, Yeah, Caitlin, I had the same thought as

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Speaker 3: you when he came in frame. I was like, if

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Speaker 3: that man doesn't come back, we've made a big mistake.

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Speaker 3: Because whatever movie language is so impressive in so many ways.

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Speaker 3: But sometimes when you see someone's that hot, you're like, Okay,

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Speaker 3: so I'm going to see this person again. Someone hot

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Speaker 3: and they have a little twinkle in their eye, see

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Speaker 3: you soon.

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Speaker 4: Yeah. Yeah, he's so good at the twinkle, the little look.

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Speaker 2: Uh truly Okay, so we perceive him, as does soria

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Speaker 2: Then Soriah goes to a branch of the British Palestine

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Speaker 2: Bank where her grandfather had an account with three hundred

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Speaker 2: and fifteen Palestinian pounds in nineteen forty eight money we

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Speaker 2: will learn this is the equivalent of around fifteen thousand

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Speaker 2: US dollars.

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Speaker 3: And sixteen cents. I believe in.

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Speaker 2: Sixteen cent Yes, it is like fifteen thousand, five hundred

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Speaker 2: something something in sixteen cents, this exact amount will become

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Speaker 2: you'll understand why it's so important and a little bit.

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Speaker 2: But she tries to, you know, withdraw this money from

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Speaker 2: this account, but it turns out she can't access the

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Speaker 2: account because it's no longer considered to be valid since

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Speaker 2: it's from before nineteen forty eight. And she's like, okay,

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Speaker 2: that's bullshit. This bank still exists, so it's responsible for

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Speaker 2: this money that is rightfully mine, and the bank is

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Speaker 2: just kind of like, shrug, I don't know, come back

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Speaker 2: later and talk to our regional manager. So Soriah goes

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Speaker 2: and rents an apartment in Ramala. She returns to the

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Speaker 2: bank and speaks to the white British regional manager, who

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Speaker 2: basically says the same thing, that the account is invalid

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Speaker 2: because the Israeli Control Board had claimed that her father

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Speaker 2: was not a refugee, even though he was, but they

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Speaker 2: deemed the whole situation such that the account was invalid

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Speaker 2: and he couldn't access the money. And the bank manager's

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Speaker 2: very condescending and shitty about this whole thing. So Soriah

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Speaker 2: leaves and runs into that waiter from the restaurant. This

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Speaker 2: is a man named Ahmad played by Sala Bakri. She

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Speaker 2: just like gets in his car. She's like, can I

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Speaker 2: go with you wherever you're going?

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Speaker 3: Well, because she's kind of being like cat called and

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Speaker 3: I think is like a little bit uncomfortable. And then Yeah,

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Speaker 3: gets in a hot man's car nearby.

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Speaker 2: Yeah, and he's like, no big deal, I'm just gonna

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Speaker 2: go pick up my nephew. Come along, And then she

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Speaker 2: goes to his home and meets his family. They drive

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Speaker 2: around a little bit. He kind of like takes her

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Speaker 2: around so that she can explore her country. She tells

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Speaker 2: him about her grandfather's life in Yaffa pri Nakpa. He

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Speaker 2: tells her that he received a scholarship to study at

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Speaker 2: a university in Canada and he's just waiting on his

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Speaker 2: visa and he's like, oh, I can't wait to never

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Speaker 2: see another soldier again, referring to the IDF who on

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Speaker 2: their way back stops and antagonizes them. So we see

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Speaker 2: these soldiers making him strip down in the middle of

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Speaker 2: the street. More degrading experiences for them. Then Sayah applies

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Speaker 2: for a Palestinian passport. She's currently there on a two

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Speaker 2: week visa and is trying to be able to stay longer,

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Speaker 2: but she is denied a passport because of you know,

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Speaker 2: restrictive red tape that is real and forces.

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Speaker 3: I have a quick question just to make sure I

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Speaker 3: was like understanding what was happening at the beginning correctly.

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Speaker 3: When she was going to Palestine. At the very beginning,

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Speaker 3: they determined that she could only be there for two

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Speaker 3: weeks upon her arrival or did she know that already?

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Speaker 3: That was something I wasn't totally clear on.

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Speaker 2: I don't think the movie makes it especially clear. Maybe

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Speaker 2: if there's like contexts that you already have.

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Speaker 4: She has a visa, right because they asked to see

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Speaker 4: the so it must have. I would imagine it said

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Speaker 4: two weeks.

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Speaker 3: That she yeah, and that she was going to try

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Speaker 3: to get it expanded. Yeah, okay, I just wanted to

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Speaker 3: make sure I didn't miss something because I watched it

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Speaker 3: twice and I was like, is it a surprise that

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Speaker 3: it's two weeks? Anyways?

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Speaker 2: International travel is just confusing.

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Speaker 3: It's just an absurdly short amount of time as well.

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Speaker 2: Yeah.

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Speaker 4: Yeah, well, visas are are crazy, and sometimes you forget

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Speaker 4: when you're having an American passport.

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Speaker 2: I take it for granted, so hard totally.

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Speaker 4: Yeah, I can't remember. Sorry, this is an aside. I

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Speaker 4: literally just watched this today and I can't remember. Does

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Speaker 4: she meet with a lawyer to talk about the visa?

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Speaker 2: I'm not exactly sure who she's speaking to. She's in

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Speaker 2: some sort of official office with a woman. No, it's

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Speaker 2: a man, Okay, with a man.

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Speaker 4: Sorry, I'm just I'm thinking about somebody's cameo and I'm like,

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Speaker 4: is this the movie or never mind?

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Speaker 2: Yeah, I think maybe she goes to like in office

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Speaker 2: of the Palestinian Authority or something, because that's where.

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Speaker 3: She gets advised by somebody. But yeah, I also wasn't

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Speaker 3: clear who exactly like she was seeking out.

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Speaker 4: I'm like scrubbing through the film right now.

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Speaker 2: But anyway, So soria and Emma talk about living in

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Speaker 2: Palestine versus leaving. They talk about how to deal with

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Speaker 2: the Israeli occupying forces. They kind of butt heads about it.

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Speaker 2: We can talk about like the more specifics of their

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Speaker 2: conversation later if we want, but they're like not super

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Speaker 2: in agreement on like how to deal with the occupation.

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Speaker 2: Then Soriah tells Amud and his friend Marwin, who is

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Speaker 2: an aspiring filmmaker, I.

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Speaker 3: Love my favorite character, My favorite character. I love him.

346
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Speaker 4: I love it.

347
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Speaker 3: He's like, I'm down, I'm down for anything. Let's go.

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Speaker 3: We're gonna rob a bank. Let's go.

349
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Speaker 2: Oh you want to do a bank heist? I'm in.

350
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Speaker 3: Yes, he is my favorite character.

351
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Speaker 2: I liked him until he decides to stay. Does he

352
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Speaker 2: decide to stay with that Israeli woman?

353
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Speaker 3: Yes, that is where he does lose.

354
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Speaker 2: Yeah.

355
00:20:06,000 --> 00:20:08,439
Speaker 3: Early scenes with him, though, I just appreciated. I just

356
00:20:08,480 --> 00:20:13,359
Speaker 3: love a character who is very passionate about anything and

357
00:20:13,480 --> 00:20:17,800
Speaker 3: also is constantly kind of cock blocking the main couple

358
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Speaker 3: of the business, which is his role for the first

359
00:20:20,000 --> 00:20:22,320
Speaker 3: like two thirds of the movie. And then yes, when

360
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Speaker 3: the Israeli women becomes involved, you're like, oh, you really

361
00:20:25,760 --> 00:20:29,000
Speaker 3: had me in the first half. But yeah, he's a treat.

362
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Speaker 2: He is third wheeling them a bit.

363
00:20:30,800 --> 00:20:33,000
Speaker 3: Yeah. I mean many such cases. I've done that so

364
00:20:33,040 --> 00:20:35,240
Speaker 3: many times, where you're just like, these people want to

365
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Speaker 3: fuck Well, I'm here, too bad, I'm here, So what

366
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Speaker 3: are we gonna do?

367
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Speaker 4: You're my only friend?

368
00:20:42,160 --> 00:20:45,680
Speaker 3: Yes, well I also robbed the bank, so you have

369
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Speaker 3: to talk to me.

370
00:20:48,040 --> 00:20:48,639
Speaker 2: Yeah.

371
00:20:48,760 --> 00:20:50,359
Speaker 4: Yeah. They had to find some way to get rid

372
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Speaker 4: of him. Story. I guess that was the best way

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Speaker 4: to do it.

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Speaker 2: Yeah, right, anyway, So we meet him, and so Riah

375
00:20:59,560 --> 00:21:05,560
Speaker 2: tells Emmud and Marwin that she wants to basically rob

376
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Speaker 2: the bank, the one that's supposed to have her grandfather's money,

377
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Speaker 2: though it's not really a robbery because she would just

378
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Speaker 2: be reclaiming the money that belongs to her and her family.

379
00:21:16,400 --> 00:21:18,760
Speaker 2: Marwin is in, He's like sure.

380
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Speaker 3: He doesn't have a single question. He's like, this is

381
00:21:21,200 --> 00:21:22,760
Speaker 3: going to be great tape. Let's go.

382
00:21:22,960 --> 00:21:23,160
Speaker 4: Yeah.

383
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Speaker 2: He's like, I'll get some good b roll out of this.

384
00:21:26,680 --> 00:21:29,159
Speaker 2: So he's in, but Emmud is out. He's like, I

385
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Speaker 2: got my future to think about. I'm going to university

386
00:21:32,200 --> 00:21:37,000
Speaker 2: in Canada. I can't be robbing banks. But then Emmod

387
00:21:37,040 --> 00:21:42,399
Speaker 2: and Soriyah lose their restaurant jobs because they like protest

388
00:21:42,440 --> 00:21:46,000
Speaker 2: to their boss who is not paying them. And Emmod

389
00:21:46,040 --> 00:21:51,439
Speaker 2: is particularly upset because he reveals that his visa to

390
00:21:51,880 --> 00:21:56,520
Speaker 2: go to Canada was denied, and Sarah's like, well, you know,

391
00:21:56,560 --> 00:21:59,280
Speaker 2: it's okay, we can apply for another visa. But it

392
00:21:59,320 --> 00:22:02,080
Speaker 2: turns out this is the fourth time he's been refused

393
00:22:02,359 --> 00:22:06,560
Speaker 2: and probably indefinitely anytime he tries that would be the case.

394
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Speaker 2: So he agrees now to participate in this heist as

395
00:22:12,160 --> 00:22:15,399
Speaker 2: long as they do it Soria's way with guns, but

396
00:22:15,520 --> 00:22:19,400
Speaker 2: no bullets because they don't want to hurt anybody. So

397
00:22:19,840 --> 00:22:25,520
Speaker 2: they make preparations and then Soria Ahmad and Marwin go

398
00:22:25,720 --> 00:22:29,119
Speaker 2: through with this you know, quote unquote bank robbery aka

399
00:22:29,600 --> 00:22:34,760
Speaker 2: soriah taking back what's rightfully hers that like fifteen thousand,

400
00:22:34,920 --> 00:22:39,240
Speaker 2: five hundred seventy two dollars and sixteen cents.

401
00:22:38,840 --> 00:22:41,919
Speaker 3: Plus interest, which is such a great Oh, I just

402
00:22:41,960 --> 00:22:42,440
Speaker 3: love that one.

403
00:22:42,480 --> 00:22:46,399
Speaker 2: Was so much great tag to the scene, yesh the

404
00:22:46,440 --> 00:22:49,840
Speaker 2: equivalent of like what three hundred and fifteen Palestinian pounds

405
00:22:49,840 --> 00:22:52,880
Speaker 2: would be in two thousand and eight American money, So

406
00:22:53,040 --> 00:22:57,560
Speaker 2: that's what she takes. They escape, and they cross into

407
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Speaker 2: the occupying state of Israel disguised as Jewish people with

408
00:23:03,080 --> 00:23:08,560
Speaker 2: yamakas and stars of David and like pro America propaganda T.

409
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Speaker 3: Shirts, the T shirt, the T shirt, the whole.

410
00:23:12,400 --> 00:23:16,080
Speaker 4: Sort of hiding their identity thing with like Silas wearing

411
00:23:16,080 --> 00:23:20,440
Speaker 4: a Yamaica with Israeli an American flags on it, and yeah,

412
00:23:20,440 --> 00:23:22,840
Speaker 4: I forget what his T shirt says, but like clearly

413
00:23:22,880 --> 00:23:26,480
Speaker 4: they went to some like weird tourists.

414
00:23:26,560 --> 00:23:29,040
Speaker 3: It's very like peer peer T shirt, but I have

415
00:23:29,040 --> 00:23:31,960
Speaker 3: it written down somewhere, but yeah, it's like indicating like

416
00:23:32,359 --> 00:23:36,520
Speaker 3: we've got you Israel love Oh America, don't worry, Israel's

417
00:23:36,560 --> 00:23:38,679
Speaker 3: behind you. And there's a picture of like a fighter

418
00:23:38,720 --> 00:23:40,680
Speaker 3: plane on it. It's just so fucking scary.

419
00:23:41,040 --> 00:23:43,679
Speaker 4: Yeah, And they have the star of David in the

420
00:23:43,760 --> 00:23:44,600
Speaker 4: car and.

421
00:23:44,600 --> 00:23:48,600
Speaker 3: Right as like an air freshener. Something I really appreciated

422
00:23:48,640 --> 00:23:51,400
Speaker 3: about this movie is that in terms of like indicting

423
00:23:51,920 --> 00:23:55,919
Speaker 3: American culture specifically, but just Western culture in general, it

424
00:23:56,320 --> 00:23:59,280
Speaker 3: equally which we're about to get to, but like equally

425
00:23:59,359 --> 00:24:04,000
Speaker 3: is not afraid to indict Western liberalism as well. In

426
00:24:04,440 --> 00:24:07,920
Speaker 3: I think my favorite most infuriating moment of the movie,

427
00:24:07,920 --> 00:24:09,639
Speaker 3: which we'll get to in a second, but the T

428
00:24:09,760 --> 00:24:11,000
Speaker 3: shirt was very funny.

429
00:24:11,280 --> 00:24:12,320
Speaker 2: Yeah, yeah for sure.

430
00:24:12,440 --> 00:24:15,760
Speaker 3: And it works too because IDF soldiers are dumb as rocks.

431
00:24:15,920 --> 00:24:19,320
Speaker 2: Yeah, they're like, looks good to me, come on through.

432
00:24:20,200 --> 00:24:21,879
Speaker 3: That's the sentence I agree with.

433
00:24:23,560 --> 00:24:27,920
Speaker 2: And so these characters go to I believe, Jerusalem, and

434
00:24:28,359 --> 00:24:32,720
Speaker 2: they're able to move about more freely because they are

435
00:24:32,760 --> 00:24:37,320
Speaker 2: not in occupied land and they are being perceived as Jewish,

436
00:24:37,600 --> 00:24:40,120
Speaker 2: so no one's really giving them trouble.

437
00:24:39,800 --> 00:24:42,760
Speaker 3: But still not completely safely too, which is I think

438
00:24:42,800 --> 00:24:46,280
Speaker 3: another thing that's donned super well is like even when

439
00:24:46,320 --> 00:24:49,160
Speaker 3: they are quote unquote in the clear, they're never quite

440
00:24:49,160 --> 00:24:49,680
Speaker 3: in the clear.

441
00:24:49,920 --> 00:24:54,679
Speaker 2: They're still alluming threat over them for sure. Yeah. They

442
00:24:54,960 --> 00:25:01,040
Speaker 2: head to the coast, they swim and frolic in the sea.

443
00:25:01,400 --> 00:25:05,280
Speaker 2: Then they go to Yafa, to the home where Soria's

444
00:25:05,320 --> 00:25:09,399
Speaker 2: grandfather lived before he was forcibly removed during the Nakba.

445
00:25:10,240 --> 00:25:15,040
Speaker 2: A young Israeli woman she lives in this house now.

446
00:25:15,720 --> 00:25:18,919
Speaker 2: She invites them in and lets them stay for a while,

447
00:25:19,680 --> 00:25:25,199
Speaker 2: and she's friendly quote unquote, and she has mugs that

448
00:25:25,280 --> 00:25:29,480
Speaker 2: say things like end the occupation, and she's talking to

449
00:25:29,520 --> 00:25:32,200
Speaker 2: them and saying things like, yeah, I hate all this violence.

450
00:25:32,240 --> 00:25:34,160
Speaker 2: We all just want peace, right.

451
00:25:34,880 --> 00:25:38,800
Speaker 4: Oh my god? Uh liberal zionis exactly.

452
00:25:39,119 --> 00:25:43,280
Speaker 2: So as time goes on, and like soriah asks her

453
00:25:43,320 --> 00:25:47,800
Speaker 2: what she did with her grandfather's furniture, and she wants

454
00:25:47,960 --> 00:25:52,080
Speaker 2: this woman to admit that her family stole this house

455
00:25:52,119 --> 00:25:56,879
Speaker 2: from Soria's family, but this woman refuses, and she calls

456
00:25:56,920 --> 00:26:01,560
Speaker 2: the cops on them, so Soria and Ammad leave.

457
00:26:02,080 --> 00:26:06,320
Speaker 3: Like this scene is so infuriating, but it's so good.

458
00:26:06,560 --> 00:26:10,159
Speaker 3: It's so good and just stripping back this character that

459
00:26:10,200 --> 00:26:12,679
Speaker 3: you're like, I guess if you if you have no

460
00:26:13,080 --> 00:26:16,280
Speaker 3: like knowledge of what the dynamics between these characters could be,

461
00:26:16,320 --> 00:26:19,080
Speaker 3: you could be lured into this false sense of security.

462
00:26:19,440 --> 00:26:21,680
Speaker 3: But the second it and because I feel like that's

463
00:26:21,680 --> 00:26:24,840
Speaker 3: like a very liberal Zionis and just liberal thing to

464
00:26:24,840 --> 00:26:27,600
Speaker 3: do in general, is like, oh yes I have quote

465
00:26:27,640 --> 00:26:30,959
Speaker 3: unquote the right opinion. But the second it threatens me personally,

466
00:26:31,359 --> 00:26:34,840
Speaker 3: fuck you, I'm out, this is mine and I'm calling

467
00:26:34,960 --> 00:26:38,480
Speaker 3: the cops on you. Like It's just done so quickly

468
00:26:38,520 --> 00:26:42,200
Speaker 3: and so effectively. And yeah, yeah, why did my favorite

469
00:26:42,280 --> 00:26:43,400
Speaker 3: characters stay back with her?

470
00:26:43,880 --> 00:26:47,400
Speaker 2: I don't know. Yeah, they're like flirting a little bit

471
00:26:47,760 --> 00:26:50,560
Speaker 2: and they seem to be connecting, but it's just like Marwin,

472
00:26:50,640 --> 00:26:54,800
Speaker 2: come on, like, what are you doing? She's she's no good.

473
00:26:55,320 --> 00:26:57,960
Speaker 3: My head canon as he went undercover and he was

474
00:26:58,000 --> 00:27:00,520
Speaker 3: gonna bust the whole family, He's gonna bust the case

475
00:27:00,520 --> 00:27:01,320
Speaker 3: wide open.

476
00:27:01,560 --> 00:27:04,560
Speaker 2: And get back the house for Soriat. That would be nice.

477
00:27:04,600 --> 00:27:06,800
Speaker 3: I have no proof. I just want to believe the

478
00:27:06,840 --> 00:27:09,159
Speaker 3: best in him. But yeah, he kind of disappears after this.

479
00:27:09,680 --> 00:27:15,280
Speaker 2: Yeah, so Emmad wants to go to, oh, I forget

480
00:27:15,320 --> 00:27:16,880
Speaker 2: how to pronounce this city's name.

481
00:27:17,440 --> 00:27:20,399
Speaker 4: I think it's Joweima. There's actually I don't know if

482
00:27:20,400 --> 00:27:23,840
Speaker 4: you remember the bit with the storekeeper. Yeah, she's trying

483
00:27:23,880 --> 00:27:26,720
Speaker 4: to change her pronounce they're trying to find it, so

484
00:27:26,760 --> 00:27:28,920
Speaker 4: she's trying to change her pronunciation because I think he's

485
00:27:28,920 --> 00:27:32,680
Speaker 4: an Israeli shopkeeper. So she's like, maybe pronounce it differently,

486
00:27:32,840 --> 00:27:35,760
Speaker 4: but she makes it like a yo mama joke.

487
00:27:36,440 --> 00:27:40,360
Speaker 3: Yes, which is like, oh, right, this movie came out

488
00:27:40,400 --> 00:27:41,520
Speaker 3: in two thousand and eight.

489
00:27:41,480 --> 00:27:46,840
Speaker 4: Right, jo mama, Yeah, I think she says at one point, Yeah, yeah,

490
00:27:47,000 --> 00:27:49,040
Speaker 4: Dowema or Dewaima. Yeah.

491
00:27:49,080 --> 00:27:51,320
Speaker 3: But like the point is that the name of the

492
00:27:51,359 --> 00:27:53,800
Speaker 3: city has been changed by Israel, and that's why he

493
00:27:53,840 --> 00:27:55,080
Speaker 3: doesn't know what they're talking about.

494
00:27:55,160 --> 00:27:59,400
Speaker 2: Yes, this city is where Ahmad's family is originally from,

495
00:27:59,800 --> 00:28:02,960
Speaker 2: soh that's why he wants to go there, and he

496
00:28:03,080 --> 00:28:07,280
Speaker 2: and Soria travel there once they figure out where it

497
00:28:07,359 --> 00:28:11,200
Speaker 2: is and what it's called. Now they arrive, the buildings

498
00:28:11,280 --> 00:28:16,400
Speaker 2: have been abandoned, if not destroyed. They find an abandoned

499
00:28:16,440 --> 00:28:21,719
Speaker 2: house to stay in. They smooch a little bit, then

500
00:28:21,720 --> 00:28:23,840
Speaker 2: they head to a nearby town to buy a mattress

501
00:28:23,920 --> 00:28:28,159
Speaker 2: and some other like homey touches. But a cop or

502
00:28:28,280 --> 00:28:34,119
Speaker 2: soldier or some occupier starts to hassle Ahmad when he's outside,

503
00:28:34,800 --> 00:28:37,280
Speaker 2: so Sarah comes up to him and like saves him

504
00:28:37,480 --> 00:28:41,080
Speaker 2: in Spanish, which makes the cop assume that they're tourists,

505
00:28:41,600 --> 00:28:45,600
Speaker 2: so he lets them go, but Amad is like, don't

506
00:28:45,600 --> 00:28:47,840
Speaker 2: do that again, Like we could both end up in

507
00:28:47,960 --> 00:28:51,280
Speaker 2: jail because her visa is now expired and he has

508
00:28:51,360 --> 00:28:54,040
Speaker 2: no documentation that allows him to be there at all.

509
00:28:55,160 --> 00:28:58,600
Speaker 2: So they go back to the abandoned house where they've

510
00:28:58,640 --> 00:29:02,640
Speaker 2: kind of made camp. They stay there they discuss possible

511
00:29:02,720 --> 00:29:06,880
Speaker 2: futures of theirs, but the next morning, an Israeli teacher

512
00:29:06,880 --> 00:29:10,840
Speaker 2: who's like on a field trip with his students finds them.

513
00:29:11,480 --> 00:29:15,720
Speaker 2: He spews a bunch of you know, Zionist propaganda and

514
00:29:16,000 --> 00:29:18,760
Speaker 2: says that they can't camp there because it's a national park,

515
00:29:18,880 --> 00:29:21,720
Speaker 2: so they have to leave again. And then there's a

516
00:29:21,760 --> 00:29:26,840
Speaker 2: moment when Ahmad is alone and two cops approach him.

517
00:29:27,480 --> 00:29:30,720
Speaker 2: Sarah tries to save him again, saying, oh, I know him.

518
00:29:30,720 --> 00:29:34,120
Speaker 2: He works at the kibbutz where I stay, but the

519
00:29:34,160 --> 00:29:40,000
Speaker 2: cops continue to harass Ahmad and the situation escalates, and

520
00:29:40,040 --> 00:29:44,440
Speaker 2: then he and Sarah are both arrested but like also separated,

521
00:29:44,840 --> 00:29:49,840
Speaker 2: and Soria is taken to the airport to be deported

522
00:29:50,080 --> 00:29:52,960
Speaker 2: back to the US, and the movie ends much the

523
00:29:52,960 --> 00:29:57,840
Speaker 2: same way that it started, with Soria being interrogated at

524
00:29:57,840 --> 00:30:03,280
Speaker 2: the airport by occupiers. They ask where she's from. She says,

525
00:30:03,640 --> 00:30:06,400
Speaker 2: I'm from here. I'm from Palestine and I've been here

526
00:30:06,480 --> 00:30:10,240
Speaker 2: all my life. That passport you're holding in your hands,

527
00:30:10,400 --> 00:30:12,800
Speaker 2: you think it might be an American passport, but it's

528
00:30:12,800 --> 00:30:15,480
Speaker 2: actually a Palestinian passport, And this is my home and

529
00:30:15,520 --> 00:30:18,320
Speaker 2: you stole it. Is basically this sentiment, and that's how

530
00:30:18,320 --> 00:30:22,000
Speaker 2: the movie ends. So let's take a quick break and

531
00:30:22,360 --> 00:30:28,400
Speaker 2: we'll come back to discuss.

532
00:30:34,480 --> 00:30:41,040
Speaker 3: And we're back. We're back where to begin. As upsetting

533
00:30:41,200 --> 00:30:43,920
Speaker 3: as it is, I think, just like even just like

534
00:30:44,160 --> 00:30:47,640
Speaker 3: in a filmmaking sense, the rug pull at the end

535
00:30:47,640 --> 00:30:52,920
Speaker 3: of this movie is so devastating and so effective, because again,

536
00:30:53,000 --> 00:30:57,200
Speaker 3: it's just like, it's so hard to build a love

537
00:30:57,240 --> 00:31:01,280
Speaker 3: story that is genuinely of people, people who are so

538
00:31:01,480 --> 00:31:05,000
Speaker 3: different that you're really really rooting for, and seeing this

539
00:31:05,160 --> 00:31:08,280
Speaker 3: political violence and occupations separate them in a way that

540
00:31:08,600 --> 00:31:12,080
Speaker 3: logistically you're like, of course that happened, but it's so devastating.

541
00:31:12,120 --> 00:31:15,760
Speaker 3: It's just like I just the ending really got me.

542
00:31:15,800 --> 00:31:18,000
Speaker 3: And I wish I saw this movie when it came

543
00:31:18,040 --> 00:31:20,480
Speaker 3: out when I was in high school, because I feel

544
00:31:20,480 --> 00:31:23,520
Speaker 3: like this is like an ideal movie to show to

545
00:31:24,000 --> 00:31:29,760
Speaker 3: younger people, to demonstrate the consequences and yeah, where where

546
00:31:29,760 --> 00:31:30,400
Speaker 3: do we start?

547
00:31:31,880 --> 00:31:34,800
Speaker 4: Well, I'll say kind of to that point. Yeah, one

548
00:31:34,800 --> 00:31:36,880
Speaker 4: of the reasons I picked this movie a I think

549
00:31:36,920 --> 00:31:40,280
Speaker 4: it's incredible. I really love it, but I do I

550
00:31:40,320 --> 00:31:42,240
Speaker 4: think I mentioned it earlier. I think it's a really

551
00:31:42,240 --> 00:31:47,400
Speaker 4: good endpoint for American audiences without being one of these

552
00:31:48,280 --> 00:31:53,640
Speaker 4: Arab films made for American audiences. I think it's made

553
00:31:53,720 --> 00:31:57,400
Speaker 4: for everyone. And I say specifically American in part because

554
00:31:57,720 --> 00:32:00,120
Speaker 4: the character of Soraya is like from New York City,

555
00:32:00,600 --> 00:32:05,640
Speaker 4: are from Brooklyn, I've ever heard of it, But yeah,

556
00:32:05,680 --> 00:32:08,960
Speaker 4: it tells a story in this way that is perfect

557
00:32:08,960 --> 00:32:12,720
Speaker 4: for young audiences, for people, I mean, I hope kind

558
00:32:12,760 --> 00:32:16,320
Speaker 4: of at this point this is not really new to people,

559
00:32:16,440 --> 00:32:20,360
Speaker 4: but for people who are learning or unlearning something, I

560
00:32:20,400 --> 00:32:23,640
Speaker 4: think this is a really great way to start through film.

561
00:32:23,760 --> 00:32:27,280
Speaker 4: And I actually screened this in Brooklyn last year, and

562
00:32:27,360 --> 00:32:30,440
Speaker 4: I did receive that as feedback. I had a friend

563
00:32:30,520 --> 00:32:33,240
Speaker 4: who brought someone he was seeing at the time who

564
00:32:33,560 --> 00:32:38,920
Speaker 4: was kind of a American liberal Zionist type person, the

565
00:32:39,040 --> 00:32:41,800
Speaker 4: kind of person who's like, oh, yeah, the fighting should end,

566
00:32:41,840 --> 00:32:46,720
Speaker 4: everyone should live in peace, and didn't understand there's more happening.

567
00:32:47,160 --> 00:32:50,800
Speaker 4: It's bigger and worse and more complicated than that. And

568
00:32:50,880 --> 00:32:53,560
Speaker 4: apparently he left with like a lot of new insight

569
00:32:53,720 --> 00:32:56,000
Speaker 4: and empathy for the Palestinian people.

570
00:32:56,120 --> 00:32:59,840
Speaker 2: So yeah, I just wanted to shout out the director

571
00:32:59,880 --> 00:33:04,160
Speaker 2: of bit More, Anne Marie Jasser, because this movie is

572
00:33:04,320 --> 00:33:08,560
Speaker 2: the first feature film directed by a Palestinian woman.

573
00:33:08,920 --> 00:33:11,440
Speaker 3: I'm sorry that that happened in two thousand and eight,

574
00:33:11,760 --> 00:33:16,080
Speaker 3: but amazing that it happened. Yes, I was curious. This

575
00:33:16,240 --> 00:33:20,000
Speaker 3: also was And honestly I don't pay close enough attention

576
00:33:20,080 --> 00:33:22,360
Speaker 3: to the Oscars, but I know that every country gets

577
00:33:22,400 --> 00:33:25,960
Speaker 3: to submit one film to be considered for Best International

578
00:33:26,040 --> 00:33:29,280
Speaker 3: Film at the Oscars, and this was Palestine' submission to

579
00:33:30,200 --> 00:33:34,400
Speaker 3: that year's Oscar Awards for the Academy Award for Best

580
00:33:34,440 --> 00:33:38,240
Speaker 3: Foreign Language Film. So I wanted to just triple check

581
00:33:38,320 --> 00:33:41,880
Speaker 3: sort of what films were nominated that year because this

582
00:33:41,960 --> 00:33:47,360
Speaker 3: film was submitted but not ultimately nominated, right, and so

583
00:33:47,400 --> 00:33:50,800
Speaker 3: this would have been for the eighty first Academy Awards,

584
00:33:50,840 --> 00:33:54,280
Speaker 3: so for the year two thousand and eight. And while

585
00:33:54,320 --> 00:33:58,960
Speaker 3: it was not ultimately nominated, an Israeli movie was, and

586
00:33:59,640 --> 00:34:02,760
Speaker 3: that is I think it's just worth calling out a

587
00:34:02,920 --> 00:34:07,000
Speaker 3: very common occurrence in the Academy Awards. Israeli movies are

588
00:34:07,160 --> 00:34:11,400
Speaker 3: very very very often nominated for Best International Film, which

589
00:34:12,080 --> 00:34:15,960
Speaker 3: given liberal or not liberal US politics, shouldn't be surprising,

590
00:34:16,040 --> 00:34:17,680
Speaker 3: but is worth mentioning.

591
00:34:18,320 --> 00:34:21,400
Speaker 2: Well, the other thing about the director is that she

592
00:34:21,600 --> 00:34:26,320
Speaker 2: has so much award and festival recognition for her films,

593
00:34:27,040 --> 00:34:32,160
Speaker 2: but because she's a Palestinian woman who directs movies about

594
00:34:32,400 --> 00:34:36,680
Speaker 2: Arab people, she's like not a big name in Hollywood,

595
00:34:36,840 --> 00:34:40,520
Speaker 2: so she doesn't get the recognition she deserves in this

596
00:34:40,600 --> 00:34:44,319
Speaker 2: film industry here in the US. But if you look

597
00:34:44,360 --> 00:34:48,600
Speaker 2: at her list of accolades and awards and festival recognition,

598
00:34:48,800 --> 00:34:53,560
Speaker 2: it's like so much stuff. It's just not like a

599
00:34:54,000 --> 00:34:55,800
Speaker 2: mayor like Hollywood.

600
00:34:55,960 --> 00:34:59,920
Speaker 4: Yeah, this is really common with Arab filmmakers or car

601
00:35:00,280 --> 00:35:05,960
Speaker 4: the board. The Palestine is a particularly strong filmmaking country

602
00:35:06,080 --> 00:35:09,800
Speaker 4: and some of arguably the best filmmakers in the region

603
00:35:09,880 --> 00:35:14,240
Speaker 4: come from there, not just Addmiry Jasser, but like Ilia

604
00:35:14,360 --> 00:35:19,480
Speaker 4: Suliman and Hani Abu Asad, like speaking of like the oscars.

605
00:35:19,560 --> 00:35:22,560
Speaker 4: Ilia Suliman was the first had the first Palestinian film

606
00:35:22,600 --> 00:35:25,680
Speaker 4: ever submitted, which was not until two thousand and two,

607
00:35:25,920 --> 00:35:30,959
Speaker 4: and Hanyabusad had the first nominated Palestinian film. But yeah,

608
00:35:31,360 --> 00:35:35,800
Speaker 4: none of the three of them are highly recognized in

609
00:35:35,960 --> 00:35:40,640
Speaker 4: the Western world. And sorry, this is something that frustrates

610
00:35:40,680 --> 00:35:43,680
Speaker 4: me so much every day and as a reason I

611
00:35:43,719 --> 00:35:48,280
Speaker 4: started the Cinema Arabias screening series I do at Nighthawk Cinema.

612
00:35:48,840 --> 00:35:53,440
Speaker 4: I get so frustrated because so many cinephiles, movie lovers

613
00:35:53,480 --> 00:35:56,799
Speaker 4: and people in the film industry have never seen an

614
00:35:56,880 --> 00:36:00,279
Speaker 4: Arab film and don't know who any of the big

615
00:36:00,360 --> 00:36:03,080
Speaker 4: names are. Like Elia Suliman should be like an autur

616
00:36:03,280 --> 00:36:06,440
Speaker 4: that you know, you know what I mean, Like that

617
00:36:06,600 --> 00:36:09,320
Speaker 4: is like at every and his films have been at

618
00:36:09,520 --> 00:36:14,160
Speaker 4: all the big European film festivals and whatnot, and he

619
00:36:14,360 --> 00:36:19,040
Speaker 4: has the energy of like an Ocher French filmmaker, but

620
00:36:19,760 --> 00:36:22,120
Speaker 4: people don't know his name and it drives me nuts.

621
00:36:22,200 --> 00:36:26,000
Speaker 4: I know exactly why this is the case, Just centuries

622
00:36:26,400 --> 00:36:31,520
Speaker 4: of vilification in the media and uh, you know, anti

623
00:36:31,560 --> 00:36:36,040
Speaker 4: Arab racism and stuff like that. But but yeah, getting

624
00:36:36,080 --> 00:36:40,239
Speaker 4: back to Anne Marie, she deserves well do we want

625
00:36:40,239 --> 00:36:42,279
Speaker 4: the approval of the Academy? Do we really care?

626
00:36:42,400 --> 00:36:44,680
Speaker 3: But well, yeah, sure she did.

627
00:36:44,719 --> 00:36:47,640
Speaker 4: There's all the accolades regardless, Yes.

628
00:36:47,680 --> 00:36:50,719
Speaker 3: Any trophy. Yeah, you're just like the award body that

629
00:36:50,920 --> 00:36:56,280
Speaker 3: rewarded Green Book, you know who knows.

630
00:36:54,760 --> 00:36:56,040
Speaker 2: Very good point.

631
00:36:56,320 --> 00:36:58,480
Speaker 4: The Academy awards too, don't leave a lot of space

632
00:36:58,520 --> 00:37:02,040
Speaker 4: for international cinema in general. I don't know if people

633
00:37:02,120 --> 00:37:05,640
Speaker 4: know this. People don't have a lot of understanding of

634
00:37:05,680 --> 00:37:08,759
Speaker 4: how the film industry works in general, starting with the

635
00:37:08,760 --> 00:37:10,920
Speaker 4: fact that you have to submit your film to the Oscars.

636
00:37:10,920 --> 00:37:14,879
Speaker 4: It's not just every film ever that gets is in

637
00:37:14,960 --> 00:37:15,480
Speaker 4: the running.

638
00:37:15,800 --> 00:37:19,680
Speaker 3: And there's like particularly like screening, very like sort of

639
00:37:19,920 --> 00:37:22,040
Speaker 3: ridiculous screening rules where it has to run in a

640
00:37:22,080 --> 00:37:23,720
Speaker 3: certain place for a certain amount of time.

641
00:37:23,840 --> 00:37:24,319
Speaker 2: Is that right?

642
00:37:24,840 --> 00:37:28,200
Speaker 4: Yeah? I think it needs in New York or maybe

643
00:37:28,239 --> 00:37:29,880
Speaker 4: it's just an American run or a New York in

644
00:37:29,920 --> 00:37:32,439
Speaker 4: an LA run, but it needs a proper theatrical run.

645
00:37:32,480 --> 00:37:35,319
Speaker 4: It can't be a film festival, it can't be a

646
00:37:35,320 --> 00:37:38,759
Speaker 4: one off screening and That's why sometimes you'll see a

647
00:37:38,760 --> 00:37:41,880
Speaker 4: film that will just like randomly be at like a

648
00:37:41,920 --> 00:37:46,160
Speaker 4: weird theater for a week in the fall, just to qualify. Yeah,

649
00:37:46,200 --> 00:37:49,960
Speaker 4: but a lot of international films don't get that opportunity

650
00:37:49,960 --> 00:37:52,760
Speaker 4: because they don't have distributors in the US. And then

651
00:37:53,120 --> 00:37:55,280
Speaker 4: on top of that, they're more likely to be picked

652
00:37:55,320 --> 00:37:58,160
Speaker 4: up by little indie distributors that don't have the money

653
00:37:58,400 --> 00:38:02,360
Speaker 4: to submitting to the OSCAR is past so much money,

654
00:38:03,120 --> 00:38:06,080
Speaker 4: plus you have to run a campaign on top of that,

655
00:38:06,680 --> 00:38:09,240
Speaker 4: and then yeah, it's like the one that in what's

656
00:38:09,280 --> 00:38:13,799
Speaker 4: now called Best International Feature Film category is really the

657
00:38:13,840 --> 00:38:18,959
Speaker 4: one place and every country gets to submit one. Yeah, right,

658
00:38:19,440 --> 00:38:22,800
Speaker 4: I don't know, I am. I think the Academy Awards

659
00:38:22,800 --> 00:38:26,080
Speaker 4: should just accept that they're like an American award body

660
00:38:26,120 --> 00:38:30,120
Speaker 4: and lean into it. But hand you over.

661
00:38:31,840 --> 00:38:35,120
Speaker 3: No, I mean, I think you're totally right where it

662
00:38:35,239 --> 00:38:38,839
Speaker 3: just feels like if folks were truly that surprised when

663
00:38:38,880 --> 00:38:44,720
Speaker 3: a non American or English movie one Best Feature five

664
00:38:44,800 --> 00:38:48,680
Speaker 3: years ago, then you're not a global film festival, like

665
00:38:48,760 --> 00:38:53,560
Speaker 3: be honest with yourselves, you know. Yeah, I was happy

666
00:38:53,600 --> 00:38:55,879
Speaker 3: to see and it makes me want to see more

667
00:38:56,040 --> 00:38:59,239
Speaker 3: of anry Jascer's movies that this seems to be the

668
00:38:59,239 --> 00:39:03,319
Speaker 3: beginning of a very fruitful collaborative relationship with her and

669
00:39:03,840 --> 00:39:06,560
Speaker 3: Salah Bakri. I guess he's in all of her features,

670
00:39:06,560 --> 00:39:09,960
Speaker 3: all three of them, so they're besties. I just love

671
00:39:10,000 --> 00:39:13,160
Speaker 3: when someone's like, and here's my guy. Yeah, he's her

672
00:39:13,200 --> 00:39:15,040
Speaker 3: DiCaprio and she.

673
00:39:15,160 --> 00:39:18,960
Speaker 4: Includes his father in the film. Waship that the two

674
00:39:19,000 --> 00:39:21,840
Speaker 4: of them play a father son duo in the film.

675
00:39:21,960 --> 00:39:24,719
Speaker 2: Very nice. Yeah, that rocks. Also. I didn't make this

676
00:39:24,760 --> 00:39:28,239
Speaker 2: connection un till just now, but I recently saw the

677
00:39:28,239 --> 00:39:33,240
Speaker 2: film Omar, another Palestini movie from twenty thirteen. The titular

678
00:39:33,320 --> 00:39:36,120
Speaker 2: character Omar is played by Adam Bakri.

679
00:39:36,400 --> 00:39:36,959
Speaker 3: Oh his brother.

680
00:39:37,160 --> 00:39:39,040
Speaker 4: Yeah, that's his brother, who.

681
00:39:38,800 --> 00:39:43,440
Speaker 2: Is also so hot, like ridiculously handsome. I know we

682
00:39:43,440 --> 00:39:45,759
Speaker 2: were just talking about that, but I didn't put the

683
00:39:45,800 --> 00:39:48,640
Speaker 2: two and two together that that's him. So now I

684
00:39:48,680 --> 00:39:53,400
Speaker 2: know all the dots are connected. Very handsome family. We

685
00:39:53,440 --> 00:39:54,200
Speaker 2: love a hot.

686
00:39:54,000 --> 00:39:58,919
Speaker 4: Family, very handsome, very talented family. Yeah. I know their

687
00:39:59,040 --> 00:40:01,320
Speaker 4: father directed some films.

688
00:40:01,719 --> 00:40:02,640
Speaker 3: I was seeing that too.

689
00:40:02,800 --> 00:40:06,680
Speaker 4: Yeah yeah, I don't know if Adam has directed anything,

690
00:40:07,080 --> 00:40:08,920
Speaker 4: but anyway, very talented family.

691
00:40:09,320 --> 00:40:12,000
Speaker 2: I also want to shout out the actor who plays

692
00:40:12,000 --> 00:40:17,600
Speaker 2: Soraya yes Suhara Hamad, who, much like her character, her

693
00:40:17,640 --> 00:40:22,480
Speaker 2: parents are Palestinian refugees. She was born in Jordan and

694
00:40:22,480 --> 00:40:26,640
Speaker 2: then her family relocated to Brooklyn when she was five,

695
00:40:26,840 --> 00:40:30,440
Speaker 2: I believe, and then later Staten Island. She's a poet

696
00:40:30,480 --> 00:40:34,000
Speaker 2: and author, a political activist. She obviously acted in this movie,

697
00:40:34,000 --> 00:40:36,960
Speaker 2: but she's not necessarily like an actor by trade, although

698
00:40:37,000 --> 00:40:39,520
Speaker 2: you wouldn't know because she gives such a great performance

699
00:40:39,560 --> 00:40:42,040
Speaker 2: in this movie. But this is kind of one of

700
00:40:42,040 --> 00:40:45,480
Speaker 2: the only film roles she's done where she's like in

701
00:40:45,520 --> 00:40:48,359
Speaker 2: a fiction film playing a character kind of thing. She's

702
00:40:48,400 --> 00:40:51,000
Speaker 2: done like narration for other things.

703
00:40:51,080 --> 00:40:54,200
Speaker 3: But she's also won a ton of awards for like

704
00:40:54,280 --> 00:40:57,960
Speaker 3: her writing. Yeah, exactly, yes, Jack all trades, but yeah,

705
00:40:58,480 --> 00:41:01,920
Speaker 3: I mean, all of the performances in this movie are

706
00:41:02,480 --> 00:41:04,319
Speaker 3: are so good, which is wonderful because you know, the

707
00:41:04,320 --> 00:41:07,680
Speaker 3: movie doesn't work without them. But the I think, especially

708
00:41:07,719 --> 00:41:12,960
Speaker 3: like the chemistry between the two main characters is so well.

709
00:41:13,000 --> 00:41:15,239
Speaker 3: I guess I'm curious what people thought of that, because

710
00:41:15,239 --> 00:41:17,560
Speaker 3: I'm always sort of blown away when I'm very pulled

711
00:41:17,600 --> 00:41:21,160
Speaker 3: into a story. But I like this relationship so much

712
00:41:21,200 --> 00:41:26,399
Speaker 3: because you're pulled into their friendship connection first, and it's

713
00:41:26,400 --> 00:41:30,120
Speaker 3: so clear that they understand each other as people, and

714
00:41:30,280 --> 00:41:33,360
Speaker 3: the moment that they're meeting is so important that it

715
00:41:33,520 --> 00:41:36,680
Speaker 3: just makes sense that it grows into this romance because

716
00:41:36,719 --> 00:41:39,000
Speaker 3: they're both so beautiful. So you're like, well, at some

717
00:41:39,080 --> 00:41:41,280
Speaker 3: point you should kiss.

718
00:41:41,440 --> 00:41:45,160
Speaker 4: Like, yeah, the two hot people have to have to kiss.

719
00:41:45,200 --> 00:41:46,440
Speaker 4: That's just the rules.

720
00:41:46,840 --> 00:41:49,200
Speaker 3: And this movie is not afraid to make the hot

721
00:41:49,200 --> 00:41:51,640
Speaker 3: people kiss, and I appreciate that, but I just really,

722
00:41:51,680 --> 00:41:53,719
Speaker 3: I mean, there are so many there's a number of

723
00:41:53,760 --> 00:41:59,160
Speaker 3: conversations between them before they get together that just I mean,

724
00:41:59,320 --> 00:42:01,840
Speaker 3: I'm yeah, I'm curious what you both felt about it,

725
00:42:01,880 --> 00:42:04,960
Speaker 3: but how they are both to some extent representative of

726
00:42:05,560 --> 00:42:11,080
Speaker 3: very different Palestinian experiences. You know, where Soriah wants nothing

727
00:42:11,120 --> 00:42:14,680
Speaker 3: more than to stay and she can't, and Mahmad wants

728
00:42:14,719 --> 00:42:17,920
Speaker 3: nothing more than to leave and he can't. And they

729
00:42:18,120 --> 00:42:21,480
Speaker 3: both love Palestine and that is not that is a

730
00:42:21,600 --> 00:42:24,520
Speaker 3: core thing that they agree on, but their experiences of

731
00:42:24,600 --> 00:42:29,640
Speaker 3: Palestine are so different. And it's a really beautiful friendship

732
00:42:29,719 --> 00:42:33,520
Speaker 3: to watch develop first, which is why when it turns

733
00:42:33,520 --> 00:42:35,799
Speaker 3: into a romance and even when she's like, should I

734
00:42:35,800 --> 00:42:38,239
Speaker 3: have a baby? I'm like, yeah, you probably should like

735
00:42:40,000 --> 00:42:41,680
Speaker 3: those more of these people.

736
00:42:42,719 --> 00:42:45,640
Speaker 4: Yeah, they definitely could have gone down the route of

737
00:42:46,280 --> 00:42:50,160
Speaker 4: like because they become friends and such like a sudden

738
00:42:50,200 --> 00:42:53,359
Speaker 4: way where like they see each other and then she

739
00:42:53,520 --> 00:42:55,120
Speaker 4: like sees him in his car and she just like

740
00:42:55,200 --> 00:42:56,680
Speaker 4: gets in and it's like she's like.

741
00:42:56,600 --> 00:42:58,840
Speaker 2: You're my friend now, by the way, Yeah, exactly.

742
00:42:59,440 --> 00:43:01,759
Speaker 4: You know, a worse film would have been like I

743
00:43:01,800 --> 00:43:05,160
Speaker 4: get into your car and we're in love now, right,

744
00:43:05,320 --> 00:43:09,240
Speaker 4: But they really she gives them some time to flesh

745
00:43:09,400 --> 00:43:13,160
Speaker 4: out their connection and yeah, their friendship. Like you said,

746
00:43:13,920 --> 00:43:16,600
Speaker 4: I think it's a great film about the representation of

747
00:43:16,880 --> 00:43:23,640
Speaker 4: the diaspora experience, and that's a whole complicated thing, like

748
00:43:25,040 --> 00:43:29,120
Speaker 4: this longing for home, but you come from a situation

749
00:43:29,280 --> 00:43:33,160
Speaker 4: of privilege compared to the people back home, and then

750
00:43:33,440 --> 00:43:38,759
Speaker 4: especially for Palestinians who are pretty effectively stuck, it's I

751
00:43:38,760 --> 00:43:40,920
Speaker 4: don't really have much to say about it. It's a

752
00:43:40,920 --> 00:43:44,640
Speaker 4: situation that I am familiar with, but my situation is

753
00:43:44,960 --> 00:43:49,719
Speaker 4: much different than the Palestinian situation. I do have the

754
00:43:49,840 --> 00:43:54,840
Speaker 4: ability to go back to some degree, but there's always

755
00:43:54,880 --> 00:43:56,359
Speaker 4: this push and pull, and I see it a lot,

756
00:43:56,480 --> 00:44:00,800
Speaker 4: especially whenever things get bad in places like Paulus Signer

757
00:44:00,880 --> 00:44:05,120
Speaker 4: or Lebanon. It creates a tension between the two people.

758
00:44:05,400 --> 00:44:08,719
Speaker 4: So it's nice to see it enacted on screen like that,

759
00:44:09,400 --> 00:44:12,480
Speaker 4: And I think it's an important conversation to have. Usually

760
00:44:12,480 --> 00:44:15,000
Speaker 4: you see one or the other, what to see it together?

761
00:44:15,960 --> 00:44:18,480
Speaker 2: Yeah, what Really the scene that really struck me is

762
00:44:18,520 --> 00:44:23,879
Speaker 2: when they were discussing how she wants to be there

763
00:44:23,960 --> 00:44:26,960
Speaker 2: because this is her home and this is where her

764
00:44:27,000 --> 00:44:29,719
Speaker 2: family's from, and she feels this connection to this place

765
00:44:29,760 --> 00:44:32,480
Speaker 2: even though she hasn't spent time here prior to this.

766
00:44:32,600 --> 00:44:34,960
Speaker 2: She grew up in the US, but you know she's

767
00:44:35,040 --> 00:44:38,640
Speaker 2: drawn to this place because this is where her roots are. Meanwhile,

768
00:44:38,680 --> 00:44:41,799
Speaker 2: Emma is like, you know, he's disillusioned with living in

769
00:44:41,840 --> 00:44:48,680
Speaker 2: this occupied place, under this occupation. And the conversation they

770
00:44:48,719 --> 00:44:53,000
Speaker 2: have where he's like, don't tell them the truth about

771
00:44:53,040 --> 00:44:55,240
Speaker 2: why you're here, Like you should have lied and said

772
00:44:55,320 --> 00:44:59,239
Speaker 2: that you're visiting Jewish friends, because you know, telling the

773
00:44:59,280 --> 00:45:03,319
Speaker 2: truth makes their job easier in their job being like

774
00:45:03,719 --> 00:45:07,680
Speaker 2: oppressing Palestinians. And she says, well, why should I lie?

775
00:45:07,760 --> 00:45:11,040
Speaker 2: Like all we have is the truth, All we have

776
00:45:11,160 --> 00:45:13,720
Speaker 2: is our truth, and he's like, you know, the truth

777
00:45:13,840 --> 00:45:16,799
Speaker 2: never helped anyone here, Like, look around, they've won.

778
00:45:17,320 --> 00:45:20,040
Speaker 3: Yeah, he basically is like grow up.

779
00:45:21,280 --> 00:45:24,279
Speaker 2: Like open your eyes, look around you. But like I

780
00:45:24,320 --> 00:45:26,880
Speaker 2: see where both of them are coming from. You know,

781
00:45:27,840 --> 00:45:30,719
Speaker 2: the way the scene just plays out is in their

782
00:45:31,080 --> 00:45:35,000
Speaker 2: emotions and all of that is just really impressive and moving.

783
00:45:35,600 --> 00:45:38,319
Speaker 3: Yeah, I really appree. Again, just like I feel like

784
00:45:38,840 --> 00:45:42,920
Speaker 3: her writing is so specific and the performance is just elevated.

785
00:45:42,960 --> 00:45:47,920
Speaker 3: But how we fully understand how all three of the

786
00:45:47,960 --> 00:45:50,359
Speaker 3: main characters really feel. I love that they're all so

787
00:45:50,440 --> 00:45:54,440
Speaker 3: strongly motivated to rob a bank for three very different reasons,

788
00:45:55,160 --> 00:45:57,839
Speaker 3: and like that is so hard. You don't get that

789
00:45:57,880 --> 00:46:01,480
Speaker 3: in Oceans eleven. You just don't. Some people are like, well,

790
00:46:01,480 --> 00:46:02,799
Speaker 3: I don't know, I guess I'll do it, But like

791
00:46:02,880 --> 00:46:06,320
Speaker 3: we know why they're there. They're all doing a common

792
00:46:06,360 --> 00:46:09,480
Speaker 3: goal for a particular reason, and no one is presented

793
00:46:09,600 --> 00:46:12,560
Speaker 3: as like they're doing it for the wrong reason. This

794
00:46:12,640 --> 00:46:14,759
Speaker 3: character is doing it for the right reason. We're just

795
00:46:14,880 --> 00:46:18,239
Speaker 3: given the context of why, and they all like and

796
00:46:18,280 --> 00:46:24,600
Speaker 3: respect each other and work together even when they think

797
00:46:24,760 --> 00:46:26,760
Speaker 3: what the other person is doing is reckless or stupid.

798
00:46:26,760 --> 00:46:31,000
Speaker 3: I feel like all three characters, but particularly in mod

799
00:46:31,160 --> 00:46:34,200
Speaker 3: and Soriya both have moments where I mean, with I

800
00:46:34,320 --> 00:46:38,040
Speaker 3: mod it's at the restaurant with Soya, it's at her

801
00:46:38,080 --> 00:46:45,400
Speaker 3: grandfather's house where they cannot contain their emotion anymore because

802
00:46:45,440 --> 00:46:49,440
Speaker 3: it's just it's too much, it's too upsetting, and I

803
00:46:49,440 --> 00:46:51,759
Speaker 3: feel like, again, a lesser movie would have the other

804
00:46:51,880 --> 00:46:57,000
Speaker 3: characters be angry with them, but there's just like such

805
00:46:57,000 --> 00:47:02,120
Speaker 3: a fundamental understanding, even though they're under standings and experiences

806
00:47:02,440 --> 00:47:06,000
Speaker 3: in Palestine are quite different, like Emma doesn't need to

807
00:47:06,040 --> 00:47:08,640
Speaker 3: ask why were you so mad back there?

808
00:47:08,680 --> 00:47:08,880
Speaker 4: You know?

809
00:47:09,360 --> 00:47:14,839
Speaker 3: And even with I mean the limited exposure we get

810
00:47:14,880 --> 00:47:18,480
Speaker 3: to Israeli characters and certainly didn't need to have more

811
00:47:18,520 --> 00:47:21,000
Speaker 3: than we had. But I did appreciate again that the

812
00:47:21,800 --> 00:47:26,399
Speaker 3: writing took care to show a gradient of villainy and

813
00:47:26,440 --> 00:47:30,879
Speaker 3: not even like less so, but like different types of prejudice,

814
00:47:30,960 --> 00:47:34,560
Speaker 3: because I do feel like just in movies in general,

815
00:47:34,800 --> 00:47:41,319
Speaker 3: like liberal prejudice is not shown very often, or like

816
00:47:41,480 --> 00:47:45,000
Speaker 3: not shown well because it's like if you see it,

817
00:47:45,080 --> 00:47:47,120
Speaker 3: you see it in like a right wing movie, and

818
00:47:47,160 --> 00:47:48,920
Speaker 3: at that point you're like, well, what, you know, why

819
00:47:48,960 --> 00:47:51,799
Speaker 3: am I engaging with this at all? But I love

820
00:47:52,080 --> 00:47:54,560
Speaker 3: her writing so much because all of it is just

821
00:47:54,600 --> 00:47:55,360
Speaker 3: so organic.

822
00:47:56,040 --> 00:47:56,800
Speaker 2: Yeah.

823
00:47:56,920 --> 00:48:00,560
Speaker 4: Yeah, and the showing the liberal Zionis, I think is

824
00:48:00,920 --> 00:48:04,560
Speaker 4: so it's so important. I won't mince words. Those people

825
00:48:04,680 --> 00:48:09,799
Speaker 4: drive me nuts. It's the kind of people who, yeah,

826
00:48:09,920 --> 00:48:14,399
Speaker 4: want there to peace, but don't understand what causes the war,

827
00:48:14,560 --> 00:48:18,160
Speaker 4: the violence, attention anyway, they don't recognize their own privilege

828
00:48:18,200 --> 00:48:24,200
Speaker 4: in society. Kind of people who condemn Netanyaho without investigating

829
00:48:24,640 --> 00:48:29,040
Speaker 4: anything further, and they're really not part of me is

830
00:48:29,080 --> 00:48:33,480
Speaker 4: trying to like hold back because I don't know any publics. Yeah,

831
00:48:33,960 --> 00:48:36,400
Speaker 4: they're like not they're not helpful to the cause. And

832
00:48:36,440 --> 00:48:40,360
Speaker 4: that the same goes for like the American liberals in general.

833
00:48:40,400 --> 00:48:44,560
Speaker 4: But if we're speaking specifically on the the liberation of Palestine,

834
00:48:44,600 --> 00:48:48,480
Speaker 4: like holding hands is not what's gonna what's going to

835
00:48:48,520 --> 00:48:51,160
Speaker 4: free those people? Is that what's going to free any

836
00:48:51,200 --> 00:48:51,560
Speaker 4: of us?

837
00:48:51,840 --> 00:48:54,600
Speaker 2: And the way this character is handled in this like

838
00:48:54,680 --> 00:48:59,640
Speaker 2: kind of just larger situation as far as liberal Zionism goes,

839
00:48:59,719 --> 00:49:02,560
Speaker 2: which like kind of represented by this one character, this

840
00:49:02,680 --> 00:49:06,120
Speaker 2: Israeli woman who lives in the home that belongs to

841
00:49:06,880 --> 00:49:09,640
Speaker 2: Soriah and her family, where like when they first go in,

842
00:49:09,800 --> 00:49:12,319
Speaker 2: oh she's friendly, Oh come on, in stay as long

843
00:49:12,360 --> 00:49:15,040
Speaker 2: as you'd like. Oh, what a horrible situation. This is

844
00:49:15,120 --> 00:49:18,360
Speaker 2: all this violence. Everyone just wants peace, right except for

845
00:49:18,440 --> 00:49:22,399
Speaker 2: our leaders. And then she says something like, oh, your

846
00:49:22,440 --> 00:49:26,160
Speaker 2: grandfather left in nineteen forty eight. That's so sad. I

847
00:49:26,200 --> 00:49:28,880
Speaker 2: wish he had stayed. And it's like you're saying that

848
00:49:29,120 --> 00:49:32,840
Speaker 2: as you're living in the house that your family stole

849
00:49:32,880 --> 00:49:35,680
Speaker 2: from him, So you don't wish that he's stayed. You

850
00:49:35,760 --> 00:49:39,880
Speaker 2: feel entitled to this stolen house. And then this like

851
00:49:40,040 --> 00:49:43,640
Speaker 2: fake allyship and this whole facade of being nice and

852
00:49:43,680 --> 00:49:48,160
Speaker 2: friendly starts to unravel when Soriah very rightfully says like,

853
00:49:48,920 --> 00:49:52,040
Speaker 2: this is my home. It's actually for me to decide

854
00:49:52,080 --> 00:49:54,600
Speaker 2: if you get to stay here. And I say that

855
00:49:54,640 --> 00:49:59,120
Speaker 2: you can, but you need to acknowledge that this is

856
00:49:59,160 --> 00:50:01,920
Speaker 2: a stolen house. This is my house and you stole it,

857
00:50:02,440 --> 00:50:06,520
Speaker 2: and this woman cannot do it. And she just says

858
00:50:06,680 --> 00:50:09,640
Speaker 2: nine to one one and she calls the cops instead.

859
00:50:09,920 --> 00:50:10,480
Speaker 4: Yeah.

860
00:50:10,520 --> 00:50:13,520
Speaker 3: Well, which is like such a widely applicable message too,

861
00:50:13,560 --> 00:50:17,440
Speaker 3: because it's like in the US, how many white families

862
00:50:17,480 --> 00:50:23,080
Speaker 3: are descended from thieves. Yeah, it's just she has big

863
00:50:23,120 --> 00:50:26,839
Speaker 3: black square on Instagram energy where she wants to be

864
00:50:26,920 --> 00:50:29,360
Speaker 3: perceived as doing the right thing, but when it comes

865
00:50:29,400 --> 00:50:34,200
Speaker 3: to a personal action, she is like horrified to even

866
00:50:34,239 --> 00:50:37,640
Speaker 3: be asked, Like I thought that I don't know who

867
00:50:37,719 --> 00:50:40,040
Speaker 3: the actor was, but just how flippant she was where

868
00:50:40,080 --> 00:50:41,839
Speaker 3: she was like, well, of course not and if you try,

869
00:50:41,960 --> 00:50:44,319
Speaker 3: it's not going to work. And she's like juicing an

870
00:50:44,320 --> 00:50:47,200
Speaker 3: orange and it's just like walking past her and is

871
00:50:47,280 --> 00:50:52,000
Speaker 3: just so it seems like annoyed that Soriah would even

872
00:50:52,120 --> 00:50:53,520
Speaker 3: ask a question.

873
00:50:53,960 --> 00:50:57,200
Speaker 4: She did not expect her to be as headstrong as

874
00:50:57,239 --> 00:50:57,680
Speaker 4: she is.

875
00:50:58,640 --> 00:51:00,920
Speaker 3: Right, and I feel like that's so so like it's

876
00:51:01,280 --> 00:51:05,040
Speaker 3: a very liberal attitude. And now I'm projecting because I

877
00:51:05,080 --> 00:51:07,960
Speaker 3: am like projecting this onto a lot of attitudes around

878
00:51:08,000 --> 00:51:10,319
Speaker 3: the California fires right now. But you know, just the

879
00:51:10,400 --> 00:51:13,040
Speaker 3: idea that like you should be grateful I let you inside.

880
00:51:13,440 --> 00:51:15,880
Speaker 3: How dare you ask me a follow up question? How

881
00:51:15,960 --> 00:51:18,120
Speaker 3: dare you ask me a valid question? How dare you

882
00:51:18,200 --> 00:51:20,920
Speaker 3: say that this is actually yours when that is the truth.

883
00:51:21,440 --> 00:51:23,840
Speaker 3: And it's just like, well, the open door should have

884
00:51:23,920 --> 00:51:27,279
Speaker 3: been satisfactory. And if you irritate me from here on out,

885
00:51:27,440 --> 00:51:33,399
Speaker 3: I will be contacting the authorities. You're just like sink

886
00:51:33,440 --> 00:51:35,560
Speaker 3: into the ground, sink into the core of the earth.

887
00:51:35,640 --> 00:51:39,560
Speaker 2: Like it's just so, yeah, it's great representation of Allyship

888
00:51:39,600 --> 00:51:43,000
Speaker 2: that is very performative and only exists as long as

889
00:51:43,040 --> 00:51:48,200
Speaker 2: it's convenient for them. But they would never admit their

890
00:51:48,680 --> 00:51:53,560
Speaker 2: participation and complicity in, you know, the occupation and apartheid

891
00:51:53,600 --> 00:51:57,080
Speaker 2: that Israel is inflicting on the Palestinians. And as soon

892
00:51:57,120 --> 00:51:59,319
Speaker 2: as she's asked to do that, she just like can't

893
00:51:59,400 --> 00:52:04,960
Speaker 2: even admit that she's on stolen land and she freaks

894
00:52:04,960 --> 00:52:07,880
Speaker 2: the fuck out. And yeah, that's what we see time

895
00:52:08,000 --> 00:52:11,120
Speaker 2: and time again with this kind of brand of Zionism.

896
00:52:11,800 --> 00:52:14,080
Speaker 4: Also, like to go back to Jamie's original point about

897
00:52:14,280 --> 00:52:19,839
Speaker 4: seeing the levels of evilness. I think this is part

898
00:52:19,920 --> 00:52:23,520
Speaker 4: of the frustration I have with specifically liberal Zionists. Like

899
00:52:23,640 --> 00:52:28,120
Speaker 4: net Yaho's a monster, we can all agree on that,

900
00:52:28,280 --> 00:52:33,000
Speaker 4: but evil comes in all shapes and forms, and.

901
00:52:31,760 --> 00:52:34,640
Speaker 2: It's not so there's a spectrum.

902
00:52:35,160 --> 00:52:39,160
Speaker 4: Yeah, and real allyship, and like, if you're gonna fight

903
00:52:39,200 --> 00:52:42,560
Speaker 4: alongside people, you need to learn to recognize that. And

904
00:52:42,600 --> 00:52:45,920
Speaker 4: you can give people some level of grace as they

905
00:52:46,040 --> 00:52:48,840
Speaker 4: learn and unlearn things, but yeah, but you have to

906
00:52:48,840 --> 00:52:51,360
Speaker 4: recognize at some point that they could be really nice

907
00:52:52,120 --> 00:52:55,160
Speaker 4: to you to your face, say the right things, but

908
00:52:55,680 --> 00:52:57,000
Speaker 4: don't actually do the right things.

909
00:52:57,160 --> 00:52:58,920
Speaker 2: Yeah, I think this movie does a really good job

910
00:52:58,960 --> 00:53:01,840
Speaker 2: of showing that's spectrum where, you know, you have a

911
00:53:01,840 --> 00:53:05,320
Speaker 2: bunch of scenes where Soria is either at the airport

912
00:53:05,680 --> 00:53:09,920
Speaker 2: or at the bank or some you know, interacting with

913
00:53:10,000 --> 00:53:17,879
Speaker 2: some IOF person and they are being openly hateful and

914
00:53:17,960 --> 00:53:24,440
Speaker 2: racist and antagonistic. And then you have this other version

915
00:53:24,440 --> 00:53:26,799
Speaker 2: of it with this you know woman who's living in

916
00:53:26,800 --> 00:53:29,600
Speaker 2: this stolen home. Then you have that teacher who comes

917
00:53:29,640 --> 00:53:33,799
Speaker 2: in at the end who's regurgitating the Zionist lie that

918
00:53:34,320 --> 00:53:37,600
Speaker 2: this land was empty and barren. We didn't steal it

919
00:53:37,600 --> 00:53:41,520
Speaker 2: from anyone, It was just here waiting for us. Then

920
00:53:41,560 --> 00:53:44,280
Speaker 2: you have the guy at the passport office who says

921
00:53:44,280 --> 00:53:47,120
Speaker 2: that he agrees with Soria and he's on her side,

922
00:53:47,520 --> 00:53:50,759
Speaker 2: but he's still denying her important documentation and he is

923
00:53:51,080 --> 00:53:56,560
Speaker 2: helping to uphold Zionist values via bureaucracy. So we see

924
00:53:56,560 --> 00:54:00,400
Speaker 2: all of these examples and different degrees of op Prussian

925
00:54:00,600 --> 00:54:02,759
Speaker 2: and systemic racism, and I think the movie does a

926
00:54:02,760 --> 00:54:05,960
Speaker 2: good job of showing that there are different versions of this,

927
00:54:06,560 --> 00:54:10,920
Speaker 2: but it's all under the same umbrella of Zionism and

928
00:54:11,000 --> 00:54:13,840
Speaker 2: apartheid and occupation.

929
00:54:14,480 --> 00:54:18,560
Speaker 4: One of the IOF or customs agents in the airport.

930
00:54:18,600 --> 00:54:22,160
Speaker 4: I can't remember exactly what they say first, but when

931
00:54:22,160 --> 00:54:25,000
Speaker 4: they're like asking her all these questions and they go,

932
00:54:25,120 --> 00:54:28,759
Speaker 4: it's for your safety, and it's like, but you know

933
00:54:28,880 --> 00:54:29,200
Speaker 4: it's not.

934
00:54:29,640 --> 00:54:33,760
Speaker 3: Yeah no, that opening scene and also just how many

935
00:54:33,800 --> 00:54:35,880
Speaker 3: times that opening scene is HARKing back to it and

936
00:54:35,920 --> 00:54:40,239
Speaker 3: seeing Soria feel more and more empowered to be like,

937
00:54:40,840 --> 00:54:44,080
Speaker 3: fuck you, I am allowed to be here. It's so

938
00:54:44,239 --> 00:54:48,360
Speaker 3: frustrating to see those scenes where you know Sria shows

939
00:54:48,440 --> 00:54:50,160
Speaker 3: up and like she knows what she's in for, but

940
00:54:50,280 --> 00:54:54,200
Speaker 3: like experiencing it is very different. And I feel like,

941
00:54:54,640 --> 00:55:00,080
Speaker 3: especially her and Emod with this ongoing battle with getting

942
00:55:00,160 --> 00:55:03,239
Speaker 3: his visa to Canada approved, the thing that brings them

943
00:55:03,280 --> 00:55:06,600
Speaker 3: both into like we're not going to hurt anybody, but

944
00:55:06,840 --> 00:55:09,359
Speaker 3: we are going to get this money that I feel

945
00:55:09,360 --> 00:55:14,799
Speaker 3: like is so frequently ignored in a lot of situations

946
00:55:14,880 --> 00:55:19,240
Speaker 3: is both of them try every quote unquote like respectable

947
00:55:19,280 --> 00:55:21,919
Speaker 3: way to get this done. But the system has been

948
00:55:22,040 --> 00:55:24,799
Speaker 3: designed to deny them and designed to trap them, and

949
00:55:24,840 --> 00:55:28,480
Speaker 3: design to keep them apart from either their homeland or

950
00:55:28,520 --> 00:55:31,680
Speaker 3: from where they're trying to go, just from freedom in general.

951
00:55:32,480 --> 00:55:36,600
Speaker 3: And I do appreciate that even though it's I mean

952
00:55:36,880 --> 00:55:39,799
Speaker 3: especially I think of like young people watching this is

953
00:55:39,840 --> 00:55:43,440
Speaker 3: like they both do everything they can in terms of

954
00:55:43,520 --> 00:55:46,600
Speaker 3: like this is how you accomplish this, but it's you know,

955
00:55:46,680 --> 00:55:49,840
Speaker 3: a mod's fourth time being rejected to do it in

956
00:55:50,480 --> 00:55:54,359
Speaker 3: the quote unquote correct way. Soriah's doing everything she can

957
00:55:54,440 --> 00:55:57,560
Speaker 3: in the two weeks she's been provided and is being

958
00:55:57,600 --> 00:56:01,400
Speaker 3: shut down in this very polite like shrud sorry, nothing

959
00:56:01,440 --> 00:56:04,960
Speaker 3: I can do. So when they arrive at like we

960
00:56:05,000 --> 00:56:08,840
Speaker 3: are just going to take what's ours, it's impossible not

961
00:56:08,920 --> 00:56:12,960
Speaker 3: to be on their side, Like it's just yeah.

962
00:56:12,000 --> 00:56:15,600
Speaker 4: And this is so honest to the actual situation. I

963
00:56:15,600 --> 00:56:19,279
Speaker 4: assume a lot of your listenership already knows about what's

964
00:56:19,320 --> 00:56:22,560
Speaker 4: going on, But there are some really great documentaries out

965
00:56:22,600 --> 00:56:25,960
Speaker 4: there that just support this point, one of them being

966
00:56:26,000 --> 00:56:29,720
Speaker 4: Between Two Crossings about a young woman who gets accepted

967
00:56:29,719 --> 00:56:33,400
Speaker 4: into college and she lives in Gaza and she can't

968
00:56:33,400 --> 00:56:36,160
Speaker 4: get through either border and she hasks like all the

969
00:56:36,200 --> 00:56:41,279
Speaker 4: paperwork that goes into that, and the systems are Yeah,

970
00:56:41,320 --> 00:56:44,920
Speaker 4: even if someone doesn't believe that, like like if they

971
00:56:44,960 --> 00:56:48,960
Speaker 4: believe that, you know, the two Postinian territories, Gaza and

972
00:56:49,000 --> 00:56:53,040
Speaker 4: the West Bank are you know, they're not technically under

973
00:56:53,080 --> 00:56:58,680
Speaker 4: occupation whatever. The limitations of movement and the hoops people

974
00:56:58,760 --> 00:57:03,600
Speaker 4: have to jump through that they can't actually get through

975
00:57:04,320 --> 00:57:09,799
Speaker 4: is really heartbreaking and it never gets less impactful when

976
00:57:09,840 --> 00:57:13,399
Speaker 4: you see it on film, whether a fiction or documentary.

977
00:57:14,400 --> 00:57:18,760
Speaker 4: And it's the way that Israel controls everything. They control

978
00:57:18,840 --> 00:57:22,080
Speaker 4: the movement of everything into and out of these territories,

979
00:57:23,080 --> 00:57:26,520
Speaker 4: including the people. There's a really great film called two

980
00:57:26,600 --> 00:57:29,800
Speaker 4: hundred Meters from a couple of years ago about a

981
00:57:29,840 --> 00:57:35,640
Speaker 4: man who his wife has Israeli like residency or whatever

982
00:57:35,680 --> 00:57:39,880
Speaker 4: it's called. She's Palestinian, but she's part of the forty

983
00:57:39,880 --> 00:57:44,520
Speaker 4: eight and he does not. So she chooses to live

984
00:57:44,800 --> 00:57:49,680
Speaker 4: in what is technically Israel because their kids can go

985
00:57:49,760 --> 00:57:53,200
Speaker 4: to a better school, and he lives two hundred meters

986
00:57:53,240 --> 00:57:55,720
Speaker 4: away on the other side, and he can only get

987
00:57:55,720 --> 00:57:58,400
Speaker 4: through to see them when he has a work permit,

988
00:57:58,880 --> 00:58:02,800
Speaker 4: and sort of similarly robbing the bank. He's in a

989
00:58:02,800 --> 00:58:06,400
Speaker 4: situation where his child's in the hospital, so he'll do

990
00:58:06,480 --> 00:58:11,320
Speaker 4: anything possible to cross that border. But this is like,

991
00:58:12,080 --> 00:58:14,760
Speaker 4: it's not some sort of crazy fiction. It is just

992
00:58:15,120 --> 00:58:17,960
Speaker 4: the actual lived reality of a lot of people.

993
00:58:18,560 --> 00:58:21,480
Speaker 2: And then it goes without saying that the current reality

994
00:58:21,760 --> 00:58:26,320
Speaker 2: in Gaza is a holocaust that as we are recording

995
00:58:26,480 --> 00:58:30,520
Speaker 2: this episode, it's like the day that the ceasefire deal

996
00:58:30,840 --> 00:58:35,400
Speaker 2: was announced and we're waiting to see what is actually

997
00:58:35,480 --> 00:58:38,000
Speaker 2: going to be the result of that, if you know,

998
00:58:38,040 --> 00:58:41,240
Speaker 2: the occupying state that is Israel is going to honor

999
00:58:41,280 --> 00:58:43,920
Speaker 2: that because they have a history of you know not

1000
00:58:44,720 --> 00:58:51,120
Speaker 2: and still bombing in massacring people, and so yeah, just

1001
00:58:51,160 --> 00:58:53,880
Speaker 2: to provide context to our listeners as far as like

1002
00:58:54,160 --> 00:58:56,200
Speaker 2: what's going on in the world right now. As we

1003
00:58:56,280 --> 00:59:00,080
Speaker 2: are recording this episode and discussing this movie.

1004
00:59:00,080 --> 00:59:02,800
Speaker 4: I feel like I keep like we keep talking so

1005
00:59:02,920 --> 00:59:05,720
Speaker 4: much about like the real life politics that feed into

1006
00:59:05,720 --> 00:59:08,240
Speaker 4: this movie, which is so important. But I feel like

1007
00:59:08,280 --> 00:59:10,919
Speaker 4: part of it is because it's hard to because we're

1008
00:59:10,920 --> 00:59:13,720
Speaker 4: in this moment where we're a Palatins top of mind,

1009
00:59:14,000 --> 00:59:17,640
Speaker 4: it's hard to not talk about their reality, for sure. Yeah,

1010
00:59:17,760 --> 00:59:20,200
Speaker 4: but I do something I do love about this movie.

1011
00:59:20,840 --> 00:59:22,920
Speaker 4: We've talked like about a lot of the heavy stuff,

1012
00:59:23,040 --> 00:59:27,840
Speaker 4: but it also is so sweet and funny. HM and

1013
00:59:27,840 --> 00:59:31,080
Speaker 4: Emory does really does a good job at balancing that

1014
00:59:31,200 --> 00:59:35,080
Speaker 4: and not just making something that could feel like tragedy porn.

1015
00:59:35,560 --> 00:59:39,200
Speaker 3: Yes, yeah, like we're I think, like again a less

1016
00:59:39,200 --> 00:59:41,880
Speaker 3: thoughtful movie and also a movie not from a palace.

1017
00:59:41,920 --> 00:59:46,320
Speaker 3: Dan director would have probably harped on certain character elements

1018
00:59:46,560 --> 00:59:49,360
Speaker 3: or I feel like, as is so often in movies

1019
00:59:49,360 --> 00:59:54,680
Speaker 3: that skew towards tragedy porn, just not really write a character, yeah,

1020
00:59:54,680 --> 00:59:59,040
Speaker 3: and just define sort of this void like character by

1021
00:59:59,080 --> 01:00:04,160
Speaker 3: their trauma specifically, like they've got jokes, they're funny, like,

1022
01:00:04,840 --> 01:00:07,280
Speaker 3: and I just I don't know. I really do like

1023
01:00:07,320 --> 01:00:11,200
Speaker 3: the relationship between Sarah and Ahmad, where Ahmad can like

1024
01:00:11,480 --> 01:00:13,880
Speaker 3: loosen up around her a little bit, he can have

1025
01:00:13,960 --> 01:00:18,400
Speaker 3: some fun with her, and that she you know, in

1026
01:00:18,440 --> 01:00:20,400
Speaker 3: a way that like they're learning from each other in

1027
01:00:20,400 --> 01:00:23,560
Speaker 3: a way that doesn't feel the way that you see

1028
01:00:23,560 --> 01:00:27,240
Speaker 3: a lot of hetero relationships presented of like he really

1029
01:00:27,280 --> 01:00:29,760
Speaker 3: showed her how the world works, but like that's that's

1030
01:00:29,840 --> 01:00:30,920
Speaker 3: not how this works.

1031
01:00:31,160 --> 01:00:35,520
Speaker 2: I mean a uh Titanic with Jack being like here, Rose,

1032
01:00:35,840 --> 01:00:37,440
Speaker 2: let me show you exactly.

1033
01:00:38,120 --> 01:00:41,120
Speaker 4: Yeah, it could have one gun down that route. M H.

1034
01:00:41,920 --> 01:00:46,520
Speaker 2: What I especially appreciate is that their love story, whether

1035
01:00:46,560 --> 01:00:50,440
Speaker 2: it's like the platonic friendship at first, and then it

1036
01:00:50,720 --> 01:00:52,480
Speaker 2: I mean, we don't even see them kiss on the lips,

1037
01:00:52,800 --> 01:00:55,000
Speaker 2: like he kind of nuzzles her and like kisses around

1038
01:00:55,000 --> 01:00:57,320
Speaker 2: the neck a little bit. But you're like, yeah, yeah,

1039
01:00:57,320 --> 01:01:00,360
Speaker 2: there's no like big like scene where the camera was

1040
01:01:00,520 --> 01:01:03,920
Speaker 2: swirling around them as they kiss passionately.

1041
01:01:04,080 --> 01:01:06,760
Speaker 3: Yeah, capital M make capital L love.

1042
01:01:07,640 --> 01:01:09,040
Speaker 2: Yeah, nothing like that.

1043
01:01:09,560 --> 01:01:11,560
Speaker 3: No love in basketball virgility scene.

1044
01:01:12,600 --> 01:01:12,800
Speaker 4: Right.

1045
01:01:13,040 --> 01:01:17,320
Speaker 2: I appreciate that the like interpersonal romantic love story doesn't

1046
01:01:17,440 --> 01:01:21,000
Speaker 2: overpower the larger story, which is like a love letter

1047
01:01:21,160 --> 01:01:26,320
Speaker 2: to Palestine. It's like the characters loving their home and

1048
01:01:27,320 --> 01:01:32,160
Speaker 2: soriah reconnecting with her homeland, and like that's that's the

1049
01:01:32,200 --> 01:01:36,080
Speaker 2: real story. And then this you know, relationship that blossoms

1050
01:01:36,400 --> 01:01:40,040
Speaker 2: is a fringe benefit of that and like a subplot narratively,

1051
01:01:40,160 --> 01:01:43,280
Speaker 2: But yeah, I like the balance of all of that.

1052
01:01:43,480 --> 01:01:45,960
Speaker 2: And then to the point of like the moments of

1053
01:01:46,280 --> 01:01:48,840
Speaker 2: levity and joy that you see a few that really

1054
01:01:48,880 --> 01:01:53,680
Speaker 2: stuck out to me, where the scene where Emma takes

1055
01:01:53,840 --> 01:01:56,840
Speaker 2: soria to his home and he's like come in and

1056
01:01:56,880 --> 01:02:00,439
Speaker 2: she's like, nah, oh it's okay, and then his comes

1057
01:02:00,480 --> 01:02:02,440
Speaker 2: out and she's like, oh, my son's so rude, he

1058
01:02:02,480 --> 01:02:05,840
Speaker 2: has no tact. He didn't even invite you in. He's like,

1059
01:02:05,920 --> 01:02:08,000
Speaker 2: yeah I did, and she's like shut up. And then

1060
01:02:08,560 --> 01:02:12,800
Speaker 2: she brings Soriah inside and she's telling them like the

1061
01:02:12,800 --> 01:02:15,480
Speaker 2: family history of oh, this is where my grandfather was born,

1062
01:02:15,560 --> 01:02:17,760
Speaker 2: this is where my parents grew up, this is where

1063
01:02:17,800 --> 01:02:18,320
Speaker 2: I grew up.

1064
01:02:18,240 --> 01:02:21,760
Speaker 4: And the whole family is there, which I there cool,

1065
01:02:22,240 --> 01:02:25,640
Speaker 4: like it's like meeting the parents, but like the whole

1066
01:02:25,640 --> 01:02:27,960
Speaker 4: family's there. She barely knows.

1067
01:02:27,760 --> 01:02:31,200
Speaker 2: This man, right, Yeah, she just like talked to him

1068
01:02:31,240 --> 01:02:34,760
Speaker 2: for the first time earlier today. She's you know, at

1069
01:02:34,760 --> 01:02:38,480
Speaker 2: this family home, and then his mom says, welcome to

1070
01:02:38,600 --> 01:02:41,360
Speaker 2: your country, and I was just like, oh, it like

1071
01:02:41,880 --> 01:02:42,840
Speaker 2: rocked me to my core.

1072
01:02:43,560 --> 01:02:46,360
Speaker 3: This like harkens back to a very specific relationship, but

1073
01:02:46,400 --> 01:02:50,160
Speaker 3: definitely like I feel like she has been including with

1074
01:02:50,400 --> 01:02:54,800
Speaker 3: Immad at this point, been made to feel like an

1075
01:02:54,800 --> 01:02:59,520
Speaker 3: outsider many many times by Israeli and Palestinian characters at

1076
01:02:59,520 --> 01:03:03,000
Speaker 3: this point, and it's Iman's mother who was the first

1077
01:03:03,040 --> 01:03:06,880
Speaker 3: person that is just so openly welcoming and happy that

1078
01:03:06,920 --> 01:03:09,320
Speaker 3: she's there. And I feel like that she did her

1079
01:03:09,360 --> 01:03:12,600
Speaker 3: son a huge favor in that department of like, okay,

1080
01:03:12,600 --> 01:03:15,200
Speaker 3: if this is your mom, you're probably an alright guy.

1081
01:03:15,360 --> 01:03:18,160
Speaker 3: And yeah, even though she doesn't come back, I just

1082
01:03:18,200 --> 01:03:21,720
Speaker 3: thought that that was so lovely because at that point,

1083
01:03:21,840 --> 01:03:26,720
Speaker 3: you know, we've been with Soriah feeling so confused and displaced,

1084
01:03:27,440 --> 01:03:31,160
Speaker 3: you know, since moment one of the movie and clearly before,

1085
01:03:31,320 --> 01:03:33,760
Speaker 3: and just seeing someone like welcome her with open arms

1086
01:03:33,840 --> 01:03:34,960
Speaker 3: was so so nice.

1087
01:03:35,160 --> 01:03:35,880
Speaker 2: I really was.

1088
01:03:36,360 --> 01:03:38,160
Speaker 3: I wanted to touch on just in terms of like

1089
01:03:38,200 --> 01:03:41,440
Speaker 3: the specific because I know it's like, it's very it

1090
01:03:41,480 --> 01:03:45,520
Speaker 3: feels impossible to not project twenty twenty five onto this

1091
01:03:45,640 --> 01:03:48,240
Speaker 3: movie now. But I did want to go back to

1092
01:03:48,480 --> 01:03:52,920
Speaker 3: how this movie was received at the time, because I

1093
01:03:53,000 --> 01:03:55,920
Speaker 3: honestly was like, any answer wouldn't shock me. I don't know.

1094
01:03:56,480 --> 01:03:59,600
Speaker 3: It was, you know, over fifteen years ago now, and

1095
01:03:59,840 --> 01:04:04,080
Speaker 3: I I guess as expected, the critical reception at the

1096
01:04:04,120 --> 01:04:08,720
Speaker 3: time in the West was mixed in a way that

1097
01:04:08,880 --> 01:04:12,600
Speaker 3: I thought was like very telling. This has a Rotten

1098
01:04:12,640 --> 01:04:16,520
Speaker 3: Tomatoes rating, which makes no fucking what sense. Yeah, it's ridiculous.

1099
01:04:16,560 --> 01:04:19,960
Speaker 3: I mean a lot of these reviews are quite literally

1100
01:04:20,040 --> 01:04:25,120
Speaker 3: so old that you can't even read them anymore. But

1101
01:04:25,560 --> 01:04:27,920
Speaker 3: the two reviews I was able to access were on

1102
01:04:28,400 --> 01:04:33,720
Speaker 3: NPR and Slant they were both very like. Basically both

1103
01:04:33,760 --> 01:04:38,400
Speaker 3: of the reviews boiled down to this movie is histrionic

1104
01:04:38,560 --> 01:04:43,400
Speaker 3: and over dramatic, which is just so absurd from the

1105
01:04:43,480 --> 01:04:46,840
Speaker 3: first movie directed by a Palestinian woman. To receive it

1106
01:04:46,920 --> 01:04:49,760
Speaker 3: like that in the US is just so ridiculous. But

1107
01:04:49,760 --> 01:04:53,000
Speaker 3: I wanted to specifically single out. There is a quote

1108
01:04:53,720 --> 01:04:57,160
Speaker 3: in the NPR interview that is just so telling of

1109
01:04:57,240 --> 01:05:00,680
Speaker 3: like where this film critic is coming from, where he

1110
01:05:00,960 --> 01:05:05,440
Speaker 3: refers to Okay, in a fit of supreme frustration, she

1111
01:05:05,840 --> 01:05:08,920
Speaker 3: Soria convinces them to help her rob the bank for

1112
01:05:08,960 --> 01:05:11,200
Speaker 3: the three hundred and fifteen Palestinian pounds owed to her

1113
01:05:11,240 --> 01:05:14,200
Speaker 3: as her grandfather's heir, plus more than sixty years interest.

1114
01:05:14,560 --> 01:05:17,000
Speaker 3: When the clumsily orchestrated heyst is over, they go on

1115
01:05:17,000 --> 01:05:18,760
Speaker 3: the run to Tel Aviv so that she may see

1116
01:05:18,800 --> 01:05:21,760
Speaker 3: her grandfather's old house. It comes as no surprise when

1117
01:05:21,800 --> 01:05:24,479
Speaker 3: she picks a fight with the kind and sympathetic young

1118
01:05:24,560 --> 01:05:29,520
Speaker 3: Israeli who now owns it. And so it's just like wrong. Yeah,

1119
01:05:29,600 --> 01:05:32,880
Speaker 3: I'll keep going because this review really really frustrated me.

1120
01:05:32,920 --> 01:05:35,360
Speaker 3: But I feel like does clearly put us in a

1121
01:05:35,440 --> 01:05:39,960
Speaker 3: moment in time in American criticism, write director and Marigeous

1122
01:05:40,000 --> 01:05:43,240
Speaker 3: here in her first film, is determined to make important

1123
01:05:43,280 --> 01:05:48,080
Speaker 3: statements through her protagonists, which is what makes Soriah so uncompromising. Unfortunately,

1124
01:05:48,160 --> 01:05:50,600
Speaker 3: it also makes her less of a character. She often

1125
01:05:50,640 --> 01:05:53,160
Speaker 3: seems little more than a mouthpiece for history lessons on

1126
01:05:53,200 --> 01:05:57,200
Speaker 3: the injustices perpetrated on the Palestinian people. So it's just

1127
01:05:57,320 --> 01:06:00,400
Speaker 3: I don't know. Most of the reviews are not only

1128
01:06:00,520 --> 01:06:06,919
Speaker 3: expectedly written by men, but they're written by white American men.

1129
01:06:07,200 --> 01:06:09,760
Speaker 3: That just I mean. And I know we've talked about

1130
01:06:09,760 --> 01:06:12,320
Speaker 3: this on the show in the case of so many

1131
01:06:12,760 --> 01:06:14,720
Speaker 3: movies over the years, but this just felt like a

1132
01:06:14,800 --> 01:06:19,040
Speaker 3: really glaring one of just clearly like this movie wasn't

1133
01:06:19,080 --> 01:06:25,160
Speaker 3: made for me, and so it's hysterical and.

1134
01:06:24,480 --> 01:06:27,960
Speaker 4: It's yeah, yeah, I see it a lot with Arab

1135
01:06:28,000 --> 01:06:32,760
Speaker 4: films in general up into this day. People think a

1136
01:06:32,800 --> 01:06:36,400
Speaker 4: film is bad because they don't get it, because they

1137
01:06:36,560 --> 01:06:41,080
Speaker 4: lack context, or it's not made for them, it does

1138
01:06:41,120 --> 01:06:44,960
Speaker 4: not hold their hand through it. Like sure, Soraya is

1139
01:06:45,280 --> 01:06:49,320
Speaker 4: hard headed. I would find myself sometimes being like, no,

1140
01:06:50,000 --> 01:06:52,120
Speaker 4: you're gonna get yourself in trouble with the way she

1141
01:06:52,160 --> 01:06:55,240
Speaker 4: would speak to people. But it doesn't make her not

1142
01:06:55,400 --> 01:06:58,600
Speaker 4: a character like it is part of her characters, It is.

1143
01:06:58,600 --> 01:07:02,760
Speaker 2: Part of literally and you get why she's behaving that way.

1144
01:07:02,880 --> 01:07:05,760
Speaker 2: She's very justified.

1145
01:07:06,000 --> 01:07:09,880
Speaker 4: As like an Arab too. Like I just like get

1146
01:07:09,920 --> 01:07:13,640
Speaker 4: nervous for her when she because she's so outspoken and

1147
01:07:13,760 --> 01:07:16,800
Speaker 4: so confident that she's right, and I am so scared

1148
01:07:17,120 --> 01:07:18,360
Speaker 4: that someone's going to shoot her.

1149
01:07:18,440 --> 01:07:21,920
Speaker 2: Well, that's the thing, Like her safety is at stake

1150
01:07:22,200 --> 01:07:25,919
Speaker 2: in this context, and yeah, you do, you certainly fear

1151
01:07:25,920 --> 01:07:28,160
Speaker 2: for her, but you also admire her for like I

1152
01:07:28,360 --> 01:07:30,240
Speaker 2: there's a scene where I mean, and again, there's so

1153
01:07:30,240 --> 01:07:35,120
Speaker 2: many scenes where she's interfacing with someone who is like

1154
01:07:35,520 --> 01:07:39,280
Speaker 2: enforcing this red tape that is not allowing her to

1155
01:07:40,200 --> 01:07:42,960
Speaker 2: you know, get the passport she's entitled to, or get

1156
01:07:42,960 --> 01:07:44,680
Speaker 2: the money out of the bank that she's entitled to,

1157
01:07:44,840 --> 01:07:47,160
Speaker 2: or you know, do all these things. You know, it's

1158
01:07:47,200 --> 01:07:53,520
Speaker 2: this oppressive force that is designed to withhold things from

1159
01:07:53,560 --> 01:07:56,240
Speaker 2: her that she's entitled to. So all this is it.

1160
01:07:56,280 --> 01:07:58,800
Speaker 2: There's a bunch of scenes like that where she's always

1161
01:07:58,800 --> 01:08:02,240
Speaker 2: just like what the fun this is bullshit? She's calling

1162
01:08:02,560 --> 01:08:05,480
Speaker 2: it out every step of the way. And then there

1163
01:08:05,600 --> 01:08:08,080
Speaker 2: was one that I especially enjoyed it. I think it's

1164
01:08:08,080 --> 01:08:12,080
Speaker 2: when she's crossing back into the West Bank after she

1165
01:08:12,160 --> 01:08:18,640
Speaker 2: went on her like shopping spree of like getting disguises

1166
01:08:19,080 --> 01:08:25,920
Speaker 2: for the for the quote unquote robbery, and the occupier

1167
01:08:26,200 --> 01:08:32,200
Speaker 2: guy is like, hey, no tourists allowed. You can't go here,

1168
01:08:32,720 --> 01:08:36,000
Speaker 2: and she's like, well, where are you from. She's basically

1169
01:08:36,000 --> 01:08:39,040
Speaker 2: implying like you're a tourist, Like, where's your family from?

1170
01:08:39,600 --> 01:08:42,080
Speaker 2: You haven't been here this whole time. My family and

1171
01:08:42,120 --> 01:08:44,800
Speaker 2: my people have been here this whole time. And it's

1172
01:08:44,800 --> 01:08:47,439
Speaker 2: just it's many situations like that where she's always pushing back.

1173
01:08:47,880 --> 01:08:52,000
Speaker 2: She's not afraid to call out injustices when she sees them,

1174
01:08:52,040 --> 01:08:55,240
Speaker 2: but it does make you like fearful for her safety.

1175
01:08:55,520 --> 01:08:59,240
Speaker 4: Yeah, I'm looking at the Rotten Tomatoes page right now,

1176
01:08:59,320 --> 01:09:03,479
Speaker 4: and Ella Taylor for the Village Boyce refers to her

1177
01:09:03,920 --> 01:09:05,440
Speaker 4: as a spoiled princess.

1178
01:09:05,640 --> 01:09:06,439
Speaker 2: Oh my god.

1179
01:09:06,840 --> 01:09:10,400
Speaker 3: Yeah, thankfully that link. If you click the link to

1180
01:09:10,439 --> 01:09:13,280
Speaker 3: see more. They're like, we've never heard of this review

1181
01:09:13,400 --> 01:09:15,840
Speaker 3: because it's so like the one poll quote.

1182
01:09:15,840 --> 01:09:22,240
Speaker 4: You're like, oh, okay, idiot, Yeah, it's too bad. But luckily,

1183
01:09:22,360 --> 01:09:26,200
Speaker 4: I think audiences, especially now can see past that, and

1184
01:09:26,240 --> 01:09:30,519
Speaker 4: the film has had a staying power that these Western

1185
01:09:30,600 --> 01:09:32,759
Speaker 4: critics couldn't suppress.

1186
01:09:33,040 --> 01:09:36,360
Speaker 2: So yes, yeah, for our listeners who if you're listening

1187
01:09:36,439 --> 01:09:39,080
Speaker 2: to this episode and you haven't watched the movie, I

1188
01:09:39,240 --> 01:09:41,479
Speaker 2: highly recommend that you do again. Like Jamie said, is

1189
01:09:41,560 --> 01:09:45,240
Speaker 2: very accessible, at least in the US, if you have

1190
01:09:45,360 --> 01:09:47,920
Speaker 2: access to Canopy, which you can get if you have

1191
01:09:48,080 --> 01:09:49,800
Speaker 2: a public library card.

1192
01:09:51,120 --> 01:09:53,000
Speaker 3: You should have any you should have one.

1193
01:09:53,800 --> 01:09:56,280
Speaker 4: Unless you live in New York City, then you don't

1194
01:09:56,280 --> 01:09:57,000
Speaker 4: have Canopy.

1195
01:09:57,240 --> 01:10:00,599
Speaker 3: But but yes, I know that's one of the few places, right.

1196
01:10:01,520 --> 01:10:04,680
Speaker 4: They used to but they don't anymore.

1197
01:10:04,840 --> 01:10:06,360
Speaker 3: Mister Adams said no more.

1198
01:10:07,240 --> 01:10:11,160
Speaker 4: I think if pre dated Adams really wow. Yeah, so

1199
01:10:11,280 --> 01:10:13,600
Speaker 4: I'd love to put the blame on him regardless, I.

1200
01:10:13,560 --> 01:10:16,080
Speaker 3: Guess I took. I took the path of please resistance.

1201
01:10:16,439 --> 01:10:20,519
Speaker 2: If you need a Canopy log in, yes, Mina, I

1202
01:10:20,520 --> 01:10:22,479
Speaker 2: I got you. Yeah, I might.

1203
01:10:22,640 --> 01:10:25,600
Speaker 4: I should have asked you earlier because I so. I

1204
01:10:25,640 --> 01:10:30,439
Speaker 4: will say for audience members who don't have Canopy, there

1205
01:10:30,479 --> 01:10:34,200
Speaker 4: are two other places to access it that are not

1206
01:10:34,280 --> 01:10:38,559
Speaker 4: going to give your computer a virus. Unfortunately, right now,

1207
01:10:38,680 --> 01:10:41,760
Speaker 4: neither of them have English subtitles, and the film has

1208
01:10:41,880 --> 01:10:45,479
Speaker 4: large portions in English, but is predominantly in Arabic. That

1209
01:10:45,560 --> 01:10:47,120
Speaker 4: bothered me, and I'm going to see if I can

1210
01:10:47,520 --> 01:10:50,400
Speaker 4: figure out how we can get them some SRT files.

1211
01:10:50,840 --> 01:10:54,120
Speaker 4: But if you are part of Solidarity Cinema, which I

1212
01:10:54,200 --> 01:10:59,080
Speaker 4: highly highly recommend, you just join a Google group and

1213
01:10:59,160 --> 01:11:03,799
Speaker 4: you have access to hundreds of really amazing rare films,

1214
01:11:03,880 --> 01:11:06,720
Speaker 4: including Salt of the Sea. It is also on the

1215
01:11:06,720 --> 01:11:11,080
Speaker 4: Palestine Film Index, which is a wonderful document put together

1216
01:11:11,120 --> 01:11:14,080
Speaker 4: by a number of volunteers over the last year just

1217
01:11:14,479 --> 01:11:18,880
Speaker 4: noting Palestinian films. Not every film on there has a

1218
01:11:18,960 --> 01:11:23,320
Speaker 4: direct link to watch, but if you the listener, are

1219
01:11:23,400 --> 01:11:27,479
Speaker 4: interested in exploring more Palestinian films specifically, or I should

1220
01:11:27,479 --> 01:11:31,040
Speaker 4: say films that deal with the Israeli occupation because some

1221
01:11:31,080 --> 01:11:34,479
Speaker 4: of them are also from Lebanon and Syria. That is

1222
01:11:34,520 --> 01:11:37,120
Speaker 4: an amazing resource even just to find out what some

1223
01:11:37,160 --> 01:11:40,080
Speaker 4: of the titles and the filmmakers might be. But it

1224
01:11:40,120 --> 01:11:43,120
Speaker 4: also has some links to some things that are otherwise

1225
01:11:43,200 --> 01:11:46,559
Speaker 4: pretty rare. But yeah, we'll see about getting some English

1226
01:11:46,640 --> 01:11:51,320
Speaker 4: subtitles on those things. I found it on Okay dot Rue,

1227
01:11:51,320 --> 01:11:52,639
Speaker 4: but I would not recommend that.

1228
01:11:53,720 --> 01:11:55,880
Speaker 3: I mean, look, we've all done it. I did it

1229
01:11:56,000 --> 01:11:59,240
Speaker 3: last I forget why I did it. We will link

1230
01:11:59,280 --> 01:12:03,479
Speaker 3: those because yeah, I follow the Solidarity Cinema letterbox list

1231
01:12:03,560 --> 01:12:07,839
Speaker 3: like they have a very very accessible presence, So we'll

1232
01:12:07,880 --> 01:12:09,240
Speaker 3: link to that in the description.

1233
01:12:09,560 --> 01:12:13,519
Speaker 4: And I'll just say this that, like I used to

1234
01:12:13,600 --> 01:12:17,120
Speaker 4: work in film distribution, I am all for, especially for

1235
01:12:17,200 --> 01:12:21,160
Speaker 4: indie filmmakers, international filmmakers. Whenever you can give them the

1236
01:12:21,160 --> 01:12:24,160
Speaker 4: money that they deserve and rent the film or stream

1237
01:12:24,200 --> 01:12:27,360
Speaker 4: the film or buy the DVD, I think you should.

1238
01:12:27,560 --> 01:12:32,360
Speaker 4: But unfortunately so many international films, especially older ones, are

1239
01:12:32,360 --> 01:12:36,120
Speaker 4: not even given that chance, which case, resources like these

1240
01:12:36,160 --> 01:12:40,639
Speaker 4: are so incredibly important to basically archiving and making these

1241
01:12:40,680 --> 01:12:45,920
Speaker 4: films accessible, So nobody say anything about piracy in the

1242
01:12:45,960 --> 01:12:49,519
Speaker 4: show comments. I swear to God, there's a lot of

1243
01:12:49,560 --> 01:12:53,320
Speaker 4: things that I even as a film programmer, there's lots

1244
01:12:53,360 --> 01:12:55,559
Speaker 4: of things I would never be able to show or

1245
01:12:56,280 --> 01:13:00,920
Speaker 4: review myself with how resources like solid Ar Cinema and

1246
01:13:01,360 --> 01:13:02,479
Speaker 4: House and Film Index.

1247
01:13:02,720 --> 01:13:06,600
Speaker 2: So yeah, as you mentioned at the top of the episode,

1248
01:13:07,240 --> 01:13:09,479
Speaker 2: you provided a list of a bunch of options of

1249
01:13:09,560 --> 01:13:14,240
Speaker 2: movies you would like to cover with us, and several

1250
01:13:14,280 --> 01:13:18,120
Speaker 2: of them, just like are not available to stream anywhere.

1251
01:13:18,280 --> 01:13:20,479
Speaker 2: You can't buy them. There was no way.

1252
01:13:20,720 --> 01:13:23,639
Speaker 3: Yeah, what is the name of the movie that summer.

1253
01:13:23,680 --> 01:13:26,360
Speaker 3: Farah also suggested that we wanted to cover with her,

1254
01:13:26,640 --> 01:13:29,400
Speaker 3: and then we couldn't. And then yes, Mida you suggested it,

1255
01:13:29,439 --> 01:13:31,160
Speaker 3: and we still couldn't because we couldn't find it.

1256
01:13:31,160 --> 01:13:33,040
Speaker 4: Probably I'm going to guess it was Amrika.

1257
01:13:33,160 --> 01:13:33,840
Speaker 2: Yes, that's the one.

1258
01:13:33,960 --> 01:13:37,760
Speaker 4: Yes, Yes, Well, so that film. Everyone should keep an

1259
01:13:37,800 --> 01:13:39,880
Speaker 4: eye out for it because hopefully it'll come back soon.

1260
01:13:39,960 --> 01:13:41,719
Speaker 4: The director just got the rights back.

1261
01:13:42,160 --> 01:13:43,120
Speaker 3: Oh, oh, wonderful.

1262
01:13:43,280 --> 01:13:46,320
Speaker 4: Because the thing that happens to demystify some more of

1263
01:13:46,360 --> 01:13:50,400
Speaker 4: the industry for listeners is, please, films have rights holders,

1264
01:13:50,920 --> 01:13:53,640
Speaker 4: and the best way for them to be seen in

1265
01:13:53,680 --> 01:13:56,439
Speaker 4: the US is to have a US distributor who is

1266
01:13:56,479 --> 01:13:59,880
Speaker 4: then the regional rights holder, and those deals usually last

1267
01:14:00,000 --> 01:14:02,719
Speaker 4: about ten years. So a lot of times when things

1268
01:14:02,720 --> 01:14:06,280
Speaker 4: suddenly disappear from the Internet, it's just that the rights

1269
01:14:06,479 --> 01:14:10,879
Speaker 4: expired and for whatever reason, that company doesn't hold them anymore,

1270
01:14:10,960 --> 01:14:14,479
Speaker 4: and they're probably just back with the filmmaker who doesn't

1271
01:14:14,479 --> 01:14:18,280
Speaker 4: have the means, whether financially or just the time or

1272
01:14:18,320 --> 01:14:23,599
Speaker 4: the interest in getting it up on vod platforms or whatever. Yeah,

1273
01:14:23,680 --> 01:14:26,280
Speaker 4: Amrika's I think one of those films that just the

1274
01:14:26,400 --> 01:14:30,280
Speaker 4: licensing ended or sometimes if a company goes under, it

1275
01:14:30,360 --> 01:14:33,719
Speaker 4: just kind of gets lost and it doesn't always easily

1276
01:14:33,760 --> 01:14:37,080
Speaker 4: revert back to the filmmaker. It sucks. The industry is

1277
01:14:37,479 --> 01:14:38,440
Speaker 4: a mess.

1278
01:14:38,000 --> 01:14:39,160
Speaker 2: But yeah, but.

1279
01:14:39,160 --> 01:14:42,960
Speaker 4: Yeah, Amrika's an amazing film by Sharen Doabs, who has

1280
01:14:43,000 --> 01:14:46,960
Speaker 4: a new movie at Sundance and also Oho like directs

1281
01:14:47,000 --> 01:14:51,960
Speaker 4: some television and another pest in American filmmaker to watch

1282
01:14:51,960 --> 01:14:54,559
Speaker 4: out for since we're talking about her. Hell yeah, but

1283
01:14:54,680 --> 01:14:58,360
Speaker 4: hopefully in the future you can talk about that film someday.

1284
01:14:58,600 --> 01:14:58,800
Speaker 1: Yeah.

1285
01:15:01,080 --> 01:15:03,040
Speaker 2: I'm also going to see if any of these movies

1286
01:15:03,040 --> 01:15:06,880
Speaker 2: you suggested, especially for the ones that aren't on the

1287
01:15:06,920 --> 01:15:11,000
Speaker 2: Palestine Film Index or that like don't have accessibility to

1288
01:15:11,080 --> 01:15:15,000
Speaker 2: watch streaming, if they're available on DVD, I'll check that out,

1289
01:15:15,000 --> 01:15:16,920
Speaker 2: because look, I love a DVD.

1290
01:15:17,600 --> 01:15:22,000
Speaker 4: eBay is another great resource for finding especially if they

1291
01:15:22,040 --> 01:15:24,800
Speaker 4: did have US distribution. At one point, which a film

1292
01:15:24,800 --> 01:15:28,280
Speaker 4: I suggested that I absolutely love and highly recommend is

1293
01:15:28,360 --> 01:15:32,559
Speaker 4: Caramel by Nadine Labaki. I have the DVD and I

1294
01:15:32,600 --> 01:15:35,839
Speaker 4: think it was like lions Gate or Sony Pictures Classic

1295
01:15:36,000 --> 01:15:36,479
Speaker 4: or something.

1296
01:15:37,080 --> 01:15:37,760
Speaker 2: But cool.

1297
01:15:37,840 --> 01:15:41,080
Speaker 4: Yeah, the rights must have the contract must have ended.

1298
01:15:41,880 --> 01:15:45,320
Speaker 2: It happened with that and with Crossroads famously.

1299
01:15:45,720 --> 01:15:50,240
Speaker 3: Oh my gosh, Yes, two great films.

1300
01:15:50,280 --> 01:15:56,400
Speaker 2: Equal quality. Definitely. Does anyone have anything else they'd like

1301
01:15:56,439 --> 01:16:01,080
Speaker 2: to discuss regarding Salt of the Sea or anything really

1302
01:16:01,240 --> 01:16:02,439
Speaker 2: or anything.

1303
01:16:02,320 --> 01:16:05,040
Speaker 4: I would love to soapbox for a quick minute. I

1304
01:16:05,040 --> 01:16:08,920
Speaker 4: know we're running short on time, but I just you know,

1305
01:16:09,080 --> 01:16:12,280
Speaker 4: if it hasn't come across clearly by now. I'm very

1306
01:16:12,320 --> 01:16:16,479
Speaker 4: passionate about Arab cinema, and I think a lot of

1307
01:16:16,760 --> 01:16:21,200
Speaker 4: people listening, especially those who are from America, probably don't

1308
01:16:21,200 --> 01:16:25,960
Speaker 4: even recognize what kind of anti Arab biases that they hold.

1309
01:16:26,280 --> 01:16:31,519
Speaker 4: And I really encourage everyone to speak out international cinema

1310
01:16:31,600 --> 01:16:37,120
Speaker 4: in general, but consider adding some Arab cinema onto your letterbox,

1311
01:16:37,200 --> 01:16:40,800
Speaker 4: watch lists, and if you want to try to unlearn

1312
01:16:41,080 --> 01:16:44,840
Speaker 4: some of these biases or learn why, you know, even

1313
01:16:44,880 --> 01:16:48,679
Speaker 4: if you are supportive an allied, you know, not an

1314
01:16:48,720 --> 01:16:52,040
Speaker 4: overt racist, you might hold some biases that you don't

1315
01:16:52,040 --> 01:16:55,479
Speaker 4: even realize. A great resource to kind of starting to

1316
01:16:55,560 --> 01:16:59,479
Speaker 4: unpack how the media affects where these come from is

1317
01:16:59,560 --> 01:17:04,439
Speaker 4: a book, book, and connected documentary called Real Bad Arabs,

1318
01:17:04,600 --> 01:17:10,080
Speaker 4: Real Being Are Double E L subtitle How Hollywood Villifies

1319
01:17:10,080 --> 01:17:13,720
Speaker 4: the people They're both by Jack Shaheen. I have a

1320
01:17:13,760 --> 01:17:17,440
Speaker 4: copy of it above me here. He's really really incredible,

1321
01:17:17,560 --> 01:17:20,479
Speaker 4: and the book just goes through I believe it's like

1322
01:17:20,520 --> 01:17:24,000
Speaker 4: a thousand American films and points out all of the

1323
01:17:24,520 --> 01:17:29,799
Speaker 4: anti Arab stereotypes, and the documentary does it more generally

1324
01:17:29,880 --> 01:17:34,000
Speaker 4: talking about these things. And if anyone listening thinks that

1325
01:17:34,080 --> 01:17:36,000
Speaker 4: this is all a post nine to eleven thing, it

1326
01:17:36,120 --> 01:17:39,120
Speaker 4: is not. It's been going on a really long time,

1327
01:17:39,560 --> 01:17:43,599
Speaker 4: specifically about Palestinians too. The sort of Arabs as terrorist

1328
01:17:43,600 --> 01:17:48,439
Speaker 4: trope was specifically Palestinians as terrorists for a long long time.

1329
01:17:49,000 --> 01:17:53,800
Speaker 4: And I just get really frustrated when even folks I

1330
01:17:53,880 --> 01:17:57,000
Speaker 4: know in the industry they'll be like, oh, you you

1331
01:17:57,080 --> 01:18:00,599
Speaker 4: know work in Arab cinema. Oh I love this Aronia director.

1332
01:18:00,640 --> 01:18:03,640
Speaker 4: And then I have to be like, you're on Newscasion,

1333
01:18:04,439 --> 01:18:08,800
Speaker 4: it's not Arab. You've never seen an Arab film, have you?

1334
01:18:08,920 --> 01:18:12,479
Speaker 4: So I just I would love if more people watched

1335
01:18:12,479 --> 01:18:15,599
Speaker 4: our stuff. And part of the reason I brought up

1336
01:18:15,640 --> 01:18:17,680
Speaker 4: some of the like comedy in the film too, is

1337
01:18:17,720 --> 01:18:21,000
Speaker 4: because I think people are afraid of Arab cinema because

1338
01:18:21,080 --> 01:18:25,680
Speaker 4: it can be very very heavy, but there's humor, there's romance,

1339
01:18:25,920 --> 01:18:30,240
Speaker 4: there's horror, there's sci fi, and I just I think

1340
01:18:30,600 --> 01:18:32,920
Speaker 4: we get a bad rap. So that's what I want

1341
01:18:33,000 --> 01:18:34,160
Speaker 4: to say before.

1342
01:18:34,280 --> 01:18:38,360
Speaker 2: Thank you for out saying that it's all very true.

1343
01:18:38,720 --> 01:18:42,240
Speaker 4: Yeah, somehow my Instagram has become like a landing point

1344
01:18:42,320 --> 01:18:45,320
Speaker 4: for a lot of people seeking out Arab cinema. So

1345
01:18:45,400 --> 01:18:48,559
Speaker 4: people are welcome to follow me. It's my handle is

1346
01:18:48,800 --> 01:18:51,320
Speaker 4: just yes Meina dot to wheel, so feel free to

1347
01:18:51,360 --> 01:18:55,400
Speaker 4: follow me on Instagram. But I I have a couple

1348
01:18:56,040 --> 01:18:59,719
Speaker 4: directions to send people. They're all linked on my Instagram.

1349
01:18:59,760 --> 01:19:04,040
Speaker 4: But on my website, I keep a Palestinian film calendar.

1350
01:19:04,600 --> 01:19:07,759
Speaker 4: It's specifically for New York City, but I do include

1351
01:19:07,840 --> 01:19:13,120
Speaker 4: limited online screenings that are available throughout the US from

1352
01:19:13,240 --> 01:19:16,240
Speaker 4: different sites and festivals and stuff like that. And on

1353
01:19:16,280 --> 01:19:19,200
Speaker 4: that page, I have a list of resources of other

1354
01:19:19,320 --> 01:19:23,960
Speaker 4: places to explore and learn about Palestinian cinema specifically, So

1355
01:19:24,120 --> 01:19:26,639
Speaker 4: even if you're not in New York City and can't

1356
01:19:26,680 --> 01:19:28,920
Speaker 4: come to any of the in person screenings listed, it's

1357
01:19:29,040 --> 01:19:31,960
Speaker 4: a great jumping off point if you are in New

1358
01:19:32,040 --> 01:19:36,160
Speaker 4: York City. I also do a screening series called Cinema Arabia.

1359
01:19:36,600 --> 01:19:40,840
Speaker 4: It's every other month at the Nighthawk Cinema in Williamsburg.

1360
01:19:41,320 --> 01:19:44,479
Speaker 4: There's a Cinema Arabia Instagram as well that you can

1361
01:19:44,520 --> 01:19:47,920
Speaker 4: follow to keep up with it, and that series specifically

1362
01:19:48,160 --> 01:19:54,040
Speaker 4: is to highlight lesser known or lesser shown Arab films

1363
01:19:54,040 --> 01:19:59,320
Speaker 4: that I think deserve more attention and hopefully sort of

1364
01:19:59,439 --> 01:20:04,639
Speaker 4: challenge and excite the curious cinephile. But also too, there

1365
01:20:04,720 --> 01:20:07,960
Speaker 4: is the Arab Film and Media Institute, the Arab American

1366
01:20:08,000 --> 01:20:11,720
Speaker 4: National Museum, MISNA, and RT East, which are like four

1367
01:20:11,760 --> 01:20:14,680
Speaker 4: of the big Arab film and cultural organizations here in

1368
01:20:14,720 --> 01:20:18,280
Speaker 4: the US. So I would check any of them out,

1369
01:20:18,439 --> 01:20:21,479
Speaker 4: though I'm not personally associated with any of them anymore,

1370
01:20:21,680 --> 01:20:24,960
Speaker 4: but they're all really great places to go. And then,

1371
01:20:25,240 --> 01:20:29,160
Speaker 4: oh then one more thing to promote. I no longer

1372
01:20:29,920 --> 01:20:34,000
Speaker 4: specifically program in Arab cinema. I am the new film

1373
01:20:34,000 --> 01:20:37,439
Speaker 4: programmer at BAM, so you will be seeing more for

1374
01:20:37,560 --> 01:20:40,280
Speaker 4: anyone in the New York City area, you will be

1375
01:20:40,280 --> 01:20:44,240
Speaker 4: seeing more Arab cinema in the BAM lineup, but not exclusively.

1376
01:20:45,560 --> 01:20:49,080
Speaker 4: My first program I will plug is at the end

1377
01:20:49,240 --> 01:20:53,800
Speaker 4: last week of February and it is dedicated to counterculture

1378
01:20:54,160 --> 01:20:56,960
Speaker 4: pioneers from the Middle East. So if you want to

1379
01:20:57,040 --> 01:21:00,519
Speaker 4: learn about the first hip hop group in Palace Sign

1380
01:21:01,160 --> 01:21:04,719
Speaker 4: or the first all female thrash metal band from Lebanon,

1381
01:21:04,960 --> 01:21:10,920
Speaker 4: or the first professional skateboarder from Morocco. That'll be the

1382
01:21:11,000 --> 01:21:14,120
Speaker 4: last week in February, and then in general, I encourage

1383
01:21:14,120 --> 01:21:19,120
Speaker 4: you to come see some movies at the Brooklyn Academy

1384
01:21:19,120 --> 01:21:19,599
Speaker 4: of Music.

1385
01:21:19,880 --> 01:21:23,280
Speaker 3: This is wonderful, I mean, because it's frustrating on our

1386
01:21:23,400 --> 01:21:26,160
Speaker 3: end to have so many great options for movies to

1387
01:21:26,200 --> 01:21:28,360
Speaker 3: want to cover and then have to kind of go with.

1388
01:21:28,840 --> 01:21:31,720
Speaker 3: I mean, we lucked out here because alt of this

1389
01:21:32,080 --> 01:21:35,919
Speaker 3: is incredible, but for the access to be so limited,

1390
01:21:36,080 --> 01:21:37,560
Speaker 3: it is frustrating.

1391
01:21:37,680 --> 01:21:38,800
Speaker 4: It's very frustrating.

1392
01:21:38,920 --> 01:21:41,120
Speaker 3: Yeah, I mean I can't imagine like what your day

1393
01:21:41,160 --> 01:21:44,320
Speaker 3: to day is like, but I'm so grateful that you

1394
01:21:44,439 --> 01:21:47,439
Speaker 3: are doing so much of the work to make Arab

1395
01:21:47,520 --> 01:21:52,439
Speaker 3: cinnemon more accessible and we will yeah, continue to share

1396
01:21:52,680 --> 01:21:56,280
Speaker 3: however we can be supportive of your work is what

1397
01:21:56,320 --> 01:21:57,040
Speaker 3: we would love to do.

1398
01:21:57,160 --> 01:21:59,240
Speaker 4: I appreciate it. And if you ever want to talk

1399
01:21:59,280 --> 01:22:02,040
Speaker 4: about non Arab cinema, I'm also down.

1400
01:22:03,080 --> 01:22:04,880
Speaker 2: Yeah, come back, talk about whatever you.

1401
01:22:04,840 --> 01:22:08,360
Speaker 3: Want, whatever your favorite movies are. We're we're down for anything.

1402
01:22:08,080 --> 01:22:10,120
Speaker 4: We can talk about my favorite film of twenty twenty four,

1403
01:22:10,160 --> 01:22:12,080
Speaker 4: which is the Kneecap movie.

1404
01:22:12,360 --> 01:22:15,280
Speaker 3: Oh my god, that movie was so good, Katelyn, I

1405
01:22:15,360 --> 01:22:17,559
Speaker 3: haven't seen it. Caitlin's side, Yeah.

1406
01:22:17,520 --> 01:22:21,200
Speaker 2: It rocks. It's so great. A movie that does not

1407
01:22:21,760 --> 01:22:25,759
Speaker 2: pass the Bechdel test. But you know what movie does

1408
01:22:25,840 --> 01:22:29,439
Speaker 2: pass the Bechdel test, Salt of this Sea. It is

1409
01:22:30,000 --> 01:22:35,599
Speaker 2: mostly the conversation between Soriah and the Israeli woman. I mean,

1410
01:22:35,600 --> 01:22:37,679
Speaker 2: she does talk to her friend Krinn, and she talks

1411
01:22:37,720 --> 01:22:40,920
Speaker 2: to Imad's mom. But this is an example of a

1412
01:22:40,920 --> 01:22:43,439
Speaker 2: movie where it's like, even if it doesn't handily pass,

1413
01:22:43,560 --> 01:22:45,840
Speaker 2: or even if some of the conversations that pass are

1414
01:22:45,960 --> 01:22:51,160
Speaker 2: like contentious, difficult conversations. As we've always said, the test

1415
01:22:51,240 --> 01:22:53,960
Speaker 2: is a jumping off point and there is much else

1416
01:22:54,000 --> 01:22:58,720
Speaker 2: to discuss. So to me, the more relevant metric is

1417
01:22:58,760 --> 01:23:03,280
Speaker 2: the nipple scale of the famous spectral cast nipplescale, where

1418
01:23:03,320 --> 01:23:06,760
Speaker 2: we rate the movie zero to five nipples based on

1419
01:23:06,880 --> 01:23:11,040
Speaker 2: examining it through an intersectional feminist lens. I think this

1420
01:23:11,080 --> 01:23:17,800
Speaker 2: is such an important and moving movie. Wow, oh whoa

1421
01:23:18,120 --> 01:23:23,240
Speaker 2: watch out world, I'm a poet. I think this is

1422
01:23:23,280 --> 01:23:26,799
Speaker 2: just so terrifically done. And I think the way Soriah

1423
01:23:26,800 --> 01:23:32,519
Speaker 2: the characters is represented in her journey of reconnecting with

1424
01:23:32,600 --> 01:23:36,839
Speaker 2: her homeland and advocating for herself and advocating for her people,

1425
01:23:37,640 --> 01:23:40,559
Speaker 2: and the story just like being a love letter to

1426
01:23:40,760 --> 01:23:45,599
Speaker 2: Palestine and the connection she makes along the way, and

1427
01:23:45,720 --> 01:23:47,280
Speaker 2: the thing she has to deal with along the way.

1428
01:23:47,280 --> 01:23:50,760
Speaker 2: Like everything about this narrative is just so poignant and

1429
01:23:51,920 --> 01:23:56,240
Speaker 2: beautiful and heart wrenching and just so well done. I

1430
01:23:56,280 --> 01:24:01,120
Speaker 2: feel like, I don't know why I wouldn't give it nipples.

1431
01:24:01,520 --> 01:24:04,400
Speaker 4: But what about Marjuan, Well, yeah, that's okay.

1432
01:24:04,520 --> 01:24:08,320
Speaker 3: That was something I wanted to talk because I Marwuan

1433
01:24:09,160 --> 01:24:12,640
Speaker 3: and I'm a Marwan Truther. I love that guy. I

1434
01:24:12,680 --> 01:24:16,400
Speaker 3: want to see his film. He reminded me of whatever

1435
01:24:16,439 --> 01:24:19,880
Speaker 3: I was like middle schooler who was really into Rent,

1436
01:24:20,280 --> 01:24:23,040
Speaker 3: and he reminded me a lot of Mark from Rent,

1437
01:24:23,120 --> 01:24:24,719
Speaker 3: where you're like, he's making a movie.

1438
01:24:24,840 --> 01:24:25,240
Speaker 4: Is it good?

1439
01:24:25,320 --> 01:24:28,960
Speaker 3: We're not sure, but he's really into it. And I

1440
01:24:29,000 --> 01:24:32,720
Speaker 3: love a character like that. I do wish. I mean,

1441
01:24:32,800 --> 01:24:37,840
Speaker 3: just because it seems like we're introduced to Karne, I think,

1442
01:24:37,840 --> 01:24:42,080
Speaker 3: who's like a potential friend for Soriah at the beginning,

1443
01:24:42,120 --> 01:24:44,559
Speaker 3: but then she really only does seem to come into

1444
01:24:44,640 --> 01:24:47,720
Speaker 3: contact with men for the remainder of the story outside

1445
01:24:47,960 --> 01:24:52,439
Speaker 3: of this horrible Israeli woman. I just am like, if

1446
01:24:52,520 --> 01:24:56,600
Speaker 3: I could be so nitpicky, I would love if we

1447
01:24:56,840 --> 01:25:00,960
Speaker 3: just adjusted Marjuan a little bit and both, you know,

1448
01:25:01,080 --> 01:25:03,599
Speaker 3: I don't feel like it's like, it's not a gender

1449
01:25:03,880 --> 01:25:07,960
Speaker 3: specific character. I would love to see like, especially coming

1450
01:25:08,160 --> 01:25:10,960
Speaker 3: in you know, in the first widely distributed film by

1451
01:25:11,000 --> 01:25:14,960
Speaker 3: a Palestinian women, see a woman filmmaker and maybe not

1452
01:25:15,160 --> 01:25:19,920
Speaker 3: have her cozy up with the Israeli antagonists that the

1453
01:25:19,960 --> 01:25:23,479
Speaker 3: guy from NPR loved. Yeah, that's my hyper that's my

1454
01:25:23,800 --> 01:25:28,080
Speaker 3: little little thing because I wish that there had been more.

1455
01:25:28,760 --> 01:25:32,040
Speaker 3: Even though we see women allies for Soriah, we don't

1456
01:25:32,040 --> 01:25:33,960
Speaker 3: really get to know any of them. I mean, even

1457
01:25:34,000 --> 01:25:36,040
Speaker 3: like getting to know the mother better, who made her

1458
01:25:36,040 --> 01:25:38,280
Speaker 3: feel so welcomer. It felt like a lot of the

1459
01:25:38,320 --> 01:25:40,600
Speaker 3: women characters who weren't soah were a little bit like

1460
01:25:41,400 --> 01:25:44,400
Speaker 3: very in and out of the story. But that's very nitpicky.

1461
01:25:44,520 --> 01:25:46,280
Speaker 4: I do think it was like a little weird the

1462
01:25:46,320 --> 01:25:50,000
Speaker 4: way Karen is introduced and then never seen again.

1463
01:25:50,640 --> 01:25:54,320
Speaker 2: Where what was her deal in the bank when they're

1464
01:25:54,360 --> 01:25:57,040
Speaker 2: taking the money back? We like get a cut to

1465
01:25:57,240 --> 01:25:59,439
Speaker 2: this woman who looked just like her, But I'm like,

1466
01:25:59,439 --> 01:26:01,360
Speaker 2: I don't know if that's her. If I just like

1467
01:26:01,600 --> 01:26:04,400
Speaker 2: am having a facial recognition problem.

1468
01:26:04,080 --> 01:26:06,080
Speaker 4: I don't remember. But it could have been a little

1469
01:26:06,080 --> 01:26:09,280
Speaker 4: easter egg because Soraya is completely covered in an obeya,

1470
01:26:09,360 --> 01:26:12,400
Speaker 4: so she wouldn't have recognized her, And that could have

1471
01:26:12,400 --> 01:26:15,160
Speaker 4: been a fun poke by the director to be like

1472
01:26:15,760 --> 01:26:19,400
Speaker 4: someone she knows who could rat her out effectively.

1473
01:26:18,960 --> 01:26:21,599
Speaker 2: Who could recognize her doesn't right.

1474
01:26:21,600 --> 01:26:22,439
Speaker 3: That would have been fun.

1475
01:26:22,520 --> 01:26:25,040
Speaker 2: Yeah, I think that's the intention. I think we cut

1476
01:26:25,080 --> 01:26:29,240
Speaker 2: to like a shot of Krinn. I think I don't know.

1477
01:26:29,439 --> 01:26:32,280
Speaker 4: Karin is in and out so fast. You could show

1478
01:26:32,320 --> 01:26:33,679
Speaker 4: me a picture of her right now and I would

1479
01:26:33,720 --> 01:26:35,360
Speaker 4: have no idea who she was.

1480
01:26:36,040 --> 01:26:38,800
Speaker 3: Yeah, like, there's not sure what her deal is, but

1481
01:26:39,439 --> 01:26:40,639
Speaker 3: best of luck or goodbye.

1482
01:26:41,240 --> 01:26:44,599
Speaker 4: Yeah. It just seemed like so weird to introduce what

1483
01:26:44,720 --> 01:26:47,280
Speaker 4: was set up to be an important character and then

1484
01:26:48,160 --> 01:26:51,519
Speaker 4: she just never shows up again. So yeah, but it

1485
01:26:51,600 --> 01:26:56,160
Speaker 4: is nitpicky because ultimately I think the story doesn't necessarily

1486
01:26:56,240 --> 01:26:59,520
Speaker 4: need Kurin nor.

1487
01:26:58,720 --> 01:27:01,080
Speaker 2: I think even so, Yeah, I'm gonna stick with five nipples.

1488
01:27:01,200 --> 01:27:05,719
Speaker 2: I think this is just such an important movie recommend

1489
01:27:05,760 --> 01:27:09,960
Speaker 2: everyone watch it, and yeah, five nipples. I'll give them

1490
01:27:10,080 --> 01:27:15,840
Speaker 2: to a Mari Jaesser and Sarah the character, as well

1491
01:27:15,920 --> 01:27:19,160
Speaker 2: as Suher Hamad the actor.

1492
01:27:19,600 --> 01:27:24,880
Speaker 3: I'll go four and have off of our our researent discussion.

1493
01:27:25,479 --> 01:27:28,080
Speaker 3: But I mean even with I mean, I think Soria

1494
01:27:28,200 --> 01:27:31,080
Speaker 3: is such a strong central character. I love that she

1495
01:27:31,200 --> 01:27:35,559
Speaker 3: pulls both from the actor's experience and from the writing

1496
01:27:35,560 --> 01:27:39,040
Speaker 3: and directing ability. And I just I don't know, I

1497
01:27:39,920 --> 01:27:43,679
Speaker 3: love this movie. I really wish slash hope. I feel

1498
01:27:43,680 --> 01:27:45,599
Speaker 3: like this is the kind of movie that should be

1499
01:27:45,680 --> 01:27:49,600
Speaker 3: shown in like schools. And I mean this in the

1500
01:27:49,600 --> 01:27:52,200
Speaker 3: most positive way. It reminds me of the kinds of

1501
01:27:52,280 --> 01:27:55,280
Speaker 3: movies you would watch in history class, but it's an

1502
01:27:55,320 --> 01:27:58,559
Speaker 3: area of history that American public schools take no interest

1503
01:27:58,600 --> 01:28:01,720
Speaker 3: in whatsoever. But I think it would really resonate. I mean,

1504
01:28:01,760 --> 01:28:04,519
Speaker 3: and like you were saying earlier, yes, you know it

1505
01:28:04,720 --> 01:28:07,000
Speaker 3: can resonate with everyone, but I think also does a

1506
01:28:07,120 --> 01:28:12,879
Speaker 3: very subtle and thoughtful job of just illustrating an everyday

1507
01:28:12,960 --> 01:28:17,680
Speaker 3: person's predicament. So yeah, I think it's wonderful. I'll go

1508
01:28:18,400 --> 01:28:21,120
Speaker 3: four and a half nipples. I guess I'm going to

1509
01:28:21,160 --> 01:28:26,640
Speaker 3: give three. Damn Mary Jasser. Oh gosh, really difficult decisions

1510
01:28:26,720 --> 01:28:30,880
Speaker 3: to make here. I will give one to Sahar Hamad.

1511
01:28:31,479 --> 01:28:38,360
Speaker 3: I will give one two. Oh my gosh, wait where

1512
01:28:38,400 --> 01:28:40,160
Speaker 3: we see this Wikipedia page?

1513
01:28:40,439 --> 01:28:41,880
Speaker 4: For what it's worth. Sucks.

1514
01:28:43,640 --> 01:28:46,040
Speaker 3: They don't even have a cast list, and I'm just like,

1515
01:28:46,200 --> 01:28:47,120
Speaker 3: how am I supposed to?

1516
01:28:47,360 --> 01:28:49,800
Speaker 4: I will say, I was like trying to look up

1517
01:28:50,040 --> 01:28:53,800
Speaker 4: the character the Israeli woman's name, and I could not

1518
01:28:54,280 --> 01:28:55,000
Speaker 4: figure it out.

1519
01:28:55,320 --> 01:28:58,480
Speaker 2: I don't think she's listed like on IMDb.

1520
01:28:59,120 --> 01:29:01,600
Speaker 4: Yeah, they've got like even on like you know the

1521
01:29:01,960 --> 01:29:04,280
Speaker 4: way like Google will show you like the top cast

1522
01:29:04,360 --> 01:29:07,640
Speaker 4: when you look up a film. They have like the

1523
01:29:07,880 --> 01:29:10,680
Speaker 4: cat collar before they have her.

1524
01:29:12,080 --> 01:29:16,120
Speaker 3: Okay, I think one, my fourth will go to Salah Bakhry,

1525
01:29:16,280 --> 01:29:18,680
Speaker 3: and then my last half nipples. I think I want

1526
01:29:18,680 --> 01:29:20,639
Speaker 3: to bring up a while ago, one of my favorite

1527
01:29:20,680 --> 01:29:23,439
Speaker 3: movie tropes in the world someone wearing a T shirt

1528
01:29:23,520 --> 01:29:27,400
Speaker 3: with just the name of where they came from. So

1529
01:29:27,479 --> 01:29:30,080
Speaker 3: I'm going to give my last half nipple to Soria's

1530
01:29:30,120 --> 01:29:34,799
Speaker 3: shirt that just says Brooklyn. I love that movie trope

1531
01:29:34,920 --> 01:29:35,400
Speaker 3: so much.

1532
01:29:36,360 --> 01:29:40,080
Speaker 4: Between that and her accent, there is no question You're like,

1533
01:29:40,439 --> 01:29:42,520
Speaker 4: we get it. She's from Brooklyn.

1534
01:29:44,320 --> 01:29:45,200
Speaker 2: Yasmina how about you.

1535
01:29:45,840 --> 01:29:48,320
Speaker 4: I would also give it four and a half nipples

1536
01:29:48,840 --> 01:29:53,679
Speaker 4: for the same reasoning Jamie had so disappointed in Marijuan.

1537
01:29:54,040 --> 01:29:58,400
Speaker 4: Mostly I wish uh tisk I think he deserved better.

1538
01:29:58,920 --> 01:30:02,080
Speaker 4: But yeah, I would like to give them all to Stella.

1539
01:30:02,560 --> 01:30:05,320
Speaker 4: That's it. Maybe to the whole Bakra family, even the

1540
01:30:05,360 --> 01:30:07,880
Speaker 4: ones who are not in it. Sorry, but this is

1541
01:30:08,080 --> 01:30:09,840
Speaker 4: this is not very bechdel cast of me to give

1542
01:30:09,880 --> 01:30:12,640
Speaker 4: it all to men, but men, just.

1543
01:30:13,200 --> 01:30:16,840
Speaker 3: To multiple generations of men. This did maybe want to

1544
01:30:16,880 --> 01:30:19,840
Speaker 3: see her her most recent feature with Sala Bucky and

1545
01:30:19,920 --> 01:30:20,840
Speaker 3: his Father, though, I.

1546
01:30:20,880 --> 01:30:23,280
Speaker 4: Mean like it, just that one. It sounds great, truly

1547
01:30:23,320 --> 01:30:26,680
Speaker 4: impossible to find online. If I find a copy, I'll

1548
01:30:26,720 --> 01:30:27,240
Speaker 4: send it to you.

1549
01:30:27,520 --> 01:30:29,280
Speaker 3: But yeah, let us let us know.

1550
01:30:29,439 --> 01:30:32,240
Speaker 4: It's been kind of heartbreaking because her other films have

1551
01:30:32,560 --> 01:30:36,000
Speaker 4: been on and off accessible, but that one. I don't

1552
01:30:36,040 --> 01:30:37,760
Speaker 4: know what the deal is, so damn.

1553
01:30:38,120 --> 01:30:41,240
Speaker 3: Yeah, keep his posted, and thank you so much for

1554
01:30:41,400 --> 01:30:44,599
Speaker 3: coming on the show like this. This has been so wonderful.

1555
01:30:44,760 --> 01:30:47,320
Speaker 4: Thanks for having me. Of course I've been I've been

1556
01:30:47,320 --> 01:30:50,599
Speaker 4: waiting for the call, so I'm so delighted to be here.

1557
01:30:53,960 --> 01:30:56,639
Speaker 3: Where can listeners follow you online and follow your work?

1558
01:30:57,520 --> 01:31:02,000
Speaker 4: Yeah, so my handles on every everything are my name, Yes,

1559
01:31:02,120 --> 01:31:06,360
Speaker 4: Mina to wheel. My website is Yesmina dashtowheel dot com.

1560
01:31:07,200 --> 01:31:09,080
Speaker 4: It has all the events that I have coming up,

1561
01:31:09,880 --> 01:31:12,400
Speaker 4: whether it's through BAM or Nighthawk or somewhere else, as

1562
01:31:12,479 --> 01:31:15,280
Speaker 4: well as the Polsinian film calendar. I think that's it,

1563
01:31:15,560 --> 01:31:17,559
Speaker 4: or you know, I don't know. Go to the BAM

1564
01:31:17,680 --> 01:31:21,080
Speaker 4: website look at what's coming up next. Yeah.

1565
01:31:21,080 --> 01:31:23,160
Speaker 2: If you live in New York, go to the screenings

1566
01:31:23,320 --> 01:31:25,280
Speaker 2: and we'll buck you the next time we're there. Yeah,

1567
01:31:25,320 --> 01:31:29,040
Speaker 2: we will, Yes, please. You can follow us on Instagram

1568
01:31:29,360 --> 01:31:34,320
Speaker 2: at Bechdel Cast. You can subscribe to our Matreon, where

1569
01:31:34,360 --> 01:31:36,880
Speaker 2: you get two bonus episodes every month, plus access to

1570
01:31:37,000 --> 01:31:40,240
Speaker 2: the back catalog, all for five dollars a month. At

1571
01:31:40,400 --> 01:31:42,759
Speaker 2: patreon dot com slash Bechdel Cast.

1572
01:31:43,479 --> 01:31:46,320
Speaker 3: If you haven't gotten tickets, you can we sell tickets

1573
01:31:46,320 --> 01:31:49,439
Speaker 3: available to our San fond discussion next week January twenty third,

1574
01:31:50,080 --> 01:31:52,920
Speaker 3: or we'll be talking about Titanic. Ever heard of it?

1575
01:31:53,760 --> 01:31:57,360
Speaker 3: And yeah, get our birch at teapublic dot com slash

1576
01:31:57,520 --> 01:32:02,080
Speaker 3: the Bechdel Cast. If you're so inclined with that, Let's

1577
01:32:02,120 --> 01:32:03,599
Speaker 3: rob a bank. Let's rob a bank.

1578
01:32:03,760 --> 01:32:11,800
Speaker 2: Yeah, take back, What's ours exactly? Yeah, Bye Bye. The

1579
01:32:11,880 --> 01:32:15,400
Speaker 2: Bechdel Cast is a production of iHeartMedia, hosted by Caitlin

1580
01:32:15,479 --> 01:32:19,200
Speaker 2: Derante and Jamie Loftis, produced by Sophie Lichterman, edited by

1581
01:32:19,320 --> 01:32:22,799
Speaker 2: Mola Board. Our theme song was composed by Mike Kaplan

1582
01:32:22,960 --> 01:32:26,960
Speaker 2: with vocals by Katherine Volskrosenski. Our logo and merch is

1583
01:32:27,040 --> 01:32:31,040
Speaker 2: designed by Jamie Loftis and a special thanks to Aristotle Acevedo.

1584
01:32:31,720 --> 01:32:35,160
Speaker 2: For more information about the podcast, please visit linktree slash

1585
01:32:35,240 --> 01:32:35,880
Speaker 2: Bechdel Cast