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Mona and Manar are two Palestinian girls growing up in refugee camps: Mona is a resident of the economically marginalized Beirut refugee camp, and Manar lives in Bethlehem’s al-Dheisha camp under Israeli control. Despite overwhelming obstacles, the two girls form a friendship through letters and a dramatic meeting at the Lebanese border during the Israeli withdrawal from South Lebanon. When the intifada suddenly erupts around them, the two girls face heart-breaking changes in their lives.

Shot during the liberation of southern Lebanon from Israeli occupation and at the beginning of the Palestinian intifada, Frontiers of Dreams and Fears articulates the feelings, hopes, and growing activism of a generation of young Palestinians living in exile. As in Masri’s other films, this one too focuses on the difficult plight of Palestinian children while exhibiting an optimism that defies their unbearable circumstances. This is a film about the Palestinian spirit, kids embracing life even in the face of displacement and destruction.

Farha is an eager and driven girl with limitless potential. She has a loving family, a beautiful home, and she wants to enroll in school despite traditional gender norms. But when nascent Israeli forces overrun her village, Farha’s father locks her in a pantry to keep her safe. There, she witnesses the murder of a Palestinian family and their newborn baby through a small opening in the wall.

Inspired by the story of fourteen-year-old Radieh’s experience in the 1948 Nakba, Farha is however a patchwork character of all the stories Jordanian director Darim J. Sallam grew up hearing about from family members who survived the Nakba. One of tens of thousands of stories of the Nakba (from Arabic, “catastrophe”), the 1948 ethnic cleansing of 700K+ Palestinians for the creation of the state of Israel. Sallam’s debut feature was selected as the country’s 2023 Oscar entry.

The Hour of Liberation Has Arrived

The Hour of Liberation Has Arrived is an incredible, little known document about a forgotten revolution. Heiny Srour, along with her French cameraman, crossed 800 km of desert and mountain, from the South Yemeni border into both liberated and conflict zones along the red line, in order to record the mostly forgotten Marxist-Leninist Dhofar rebellion in Oman. The documentary’s focus is on the women fighting for independence against the colonial oppression of the Omani regime, which was supported by the British government. At once a testament to the women’s strength and an exploration of the role of oil and US and British involvement in the Middle East, The Hour of Liberation Has Arrived shows how liberation is found in an organically revolutionized practice of daily life, rather than in single acts of grandeur..

This is the first film by an Arab woman to be selected and screened at the Cannes film festival in 1974. After its world premiere in Cannes, the film was shown in multiple festivals and institutions around the world. Among the film’s many merits is what Dr. Abdel Razzaq Takriti called the “reconceptualization of the image of the revolutionary (...) which in other contexts was typically that of a young man with long hair and rough beard. Here, it is instead that of a fatigue-wearing young woman with huge questioning eyes, sporting a short haircut and carrying a Kalashnikov.”