Palestinian Film Screenings – Session 1

Over the next few weeks, Cool Change will work with Friends of Palestine Western Australia (FOPWA) members to present films that tell stories of Palestinian hope, truth, history, and resistance.


We will be screening two films in our office this Sunday, 12 November, at 5:00 PM. Attendance is free, but donations to the Palestine Red Crescent Society (PRCS) are encouraged. We also encourage guests to register as members of FOPWA.


Drinks are available, with profits going to PRCS. Snacks will be provided, with basic dietary requirements catered for. You are also welcome to BYO. As seating is limited, you may also wish to bring your own cushion or chair.


Please RSVP via Eventbrite here.


Schedule:

Doors: 5:00 PM (Please text or call the mobile number at the front door for building access)
First screening: 5:15 PM – 6:30 PM
Intermission: 6:30 PM – 7:00 PM
Second screening: 7:00 PM – 7:30 PM


For our first FOPWA × CC screening, we will be watching:


b.h. Yael, Even in the Desert, 2006
Runtime: 33 min

Even in the Desert focuses on concrete actions by Palestinians, Israelis, and Internationals working together in the face of and against current agendas to displace Palestinians and to limit their movements. The video travels to various locations and sites of resistance and solidarity in the West Bank: from Mas’ha to Susya and Jinba, as well as Jerusalem. These sites and the people who live there continue to experience ongoing aggressions all these many years.


Inas Halabi, We No Longer Prefer Mountains, 2023
Runtime: 96 min

We No Longer Prefer Mountains takes place in the Druze town of Dalyet el Carmel, in northern Palestine, pulling the viewer into a surreal world of geographic isolation, shrouded mysticism and a locale shaped by co-optation, coercion, and control. Weaving together intimate engagements with members of the community, in shared domestic spaces and outdoor environments, the film sets out to explore how the inner politics of the Druze have been controlled and reshaped as a result of the establishment of Israel in 1948. The film is informed by the landscape theory (fûkeiron), a Japanese Avant Garde film movement in the 60s whereby the filmmakers posited that filming the everyday surroundings reveal the oppressive and repressively isolating landscapes and the powers at play.