Neo Sora: World Cinema Failed Gaza

Japanese-American film director Neo Sora said the world of cinema has failed to adequately respond to the genocide in Gaza, stressing the need for a stronger reaction during his appearance at the 2024 Venice International Film Festival.

US-born Sora, who posed with a Palestinian keffiyeh and a flag reading “Free Palestine” at the festival, discussed the art world’s attitude towards Palestine with Anadolu.

Describing the positive response he received at the festival, Sora said: “In Venice, there was a resounding applause for the keffiyeh and the Palestinian flag. People were shouting from the audience, ‘Free Palestine,’ and I was responding by saying, ‘Free Palestine.’

“Making films and having the privilege to attend international festivals like Venice gives me a huge platform to have my voice heard by people globally, including Japanese audiences,” he said.

Sora also expressed disappointment with the festival’s programing, saying: “I was a little disappointed because you could tell they were trying to create an equivalency by including one Israeli film and one Palestinian film in the same section of Orizzonti, where my film was featured.”

Oct. 7 and reality of genocide

“I was in New York on Oct. 7, 2023, when it happened. It was really difficult to stay motivated to finish my film in the face of such extreme, livestreamed genocide, the likes of which I’ve never seen in my lifetime. I think it’s the worst genocide we’ve witnessed.

“I questioned whether I could continue making films because what’s the point of telling stories about human dignity when we’re witnessing such horrific violence that strips people of their humanity? After reflecting on the past year, I am 100% convinced that it is indeed genocide,” said Sora, recalling events from Oct. 7 last year.

Sora added that Israel’s settler colonialism isn’t just a Palestinian narrative. “It’s not something I’ve only been convinced of through Palestinian voices. Israelis themselves say it’s a settler colonial project. Look at the words of people like David Ben-Gurion or the founders of the Zionist movement; they called it a settler colonialist project.”

Palestinian culture being destroyed

Sora emphasized the importance of boycotting organizations that support Israel, saying: “As consumers, boycot is critical. We need to show these big corporations that if they make films like Wonder Woman, or Marvel featuring Gal Gadot, who’s basically a spokesperson for the IDF, they’ll lose money because we won’t support those projects.”

“We’re at the start of an AI dystopia. More concerning, though, is that the responsibility for these war crimes is being shifted to military AI systems created by Israeli military and software companies. This is a disastrous situation, especially given the environmental impact of these AI systems,” Sora said, highlighting Israel’s attempts to evade accountability.

‘We are at a historic turning point’

Sora pointed out that artists and others are not doing enough to stop the genocide in Gaza.

“The fact that this genocide has continued for 367 days and now these atrocities by Israel are spreading to other countries, like Lebanon, shows we’re not doing enough. We all need to do more, whether we’re filmmakers, businessmen, lawyers, or professionals in any other field,” he concluded.

CrossFireArabia

CrossFireArabia

Dr. Marwan Asmar holds a PhD from Leeds University and is a freelance writer specializing on the Middle East. He has worked as a journalist since the early 1990s in Jordan and the Gulf countries, and been widely published, including at Albawaba, Gulf News, Al Ghad, World Press Review and others.

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Beirut Weeps For a Poet

Lebanon mourns Khatoun Salma, a Lebanese national poet who was killed along with her husband in an Israeli airstrike that targeted their home in the Tallet al-Khayat neighborhood of Beirut Wednesday, 8 April.

Rasha al-Amir, publisher of Dar al-Jadeed, announced that the bodies of Khatoun and her husband were recovered from the rubble, Thursday morning.

Lebanese journalist Maha Salma also mourned her sister Khatoun on her Instagram account, writing: “My dear sister is in God’s care. May God grant me patience in the pain of her loss and the burning of my heart and soul.”

Poet and playwright Yahya Jaber wrote a tribute to Khatoun on Facebook, saying: “Yesterday, the Israeli airstrike cut down a poet with its sharp scissors, a poet of delicate Arabic.” Under the rubble, the conjunction “waw,” the plural “waw,” the feminine plural “nun,” the feminine suffix “ta,” the definite article “al-“: a massacre of language at the hands of language. Jaber attached a picture of the building where Khatoun lived to his post, saying:

“Here is the Khayat Hill building, and here on one of these balconies, we used to stay up late with Khatoun and her husband, Muhammad Karsht, in the late 198s, spinning yarns of laughter and sewing memories. We would recite poetry and remember our city, Tyre, and love Beirut, the capital.”

Lebanese poet Majida Dagher wrote on her Facebook page in mourning for Khatoun: “Under the rubble of her house in Khayat Hill, they found a poet lying among her shattered rhymes. The death of a poet in an airstrike on Beirut makes you feel that war is very, very close. The sound of bones breaking has become louder, and the smell of blood deeper.

Salma fell from the heights of poetry before she could bid farewell to ‘the last inhabitant of the moon.'” She thought Beirut was her tent, Beirut the roof of her poem, where she would hide, “embracing a woman waiting” for the dust to settle. But the dust became the tent of a new Beirut, a Beirut weeping, broken, martyred.

Salma, who studied Arabic literature at the American University of Beirut, published two collections of poetry, “I Embraced a Woman Waiting” in 2009 and “The Last Inhabitants of the Moon” in 2012, both with the Lebanese publishing house Dar Al-Jadeed. She first gained recognition in the 1970s, during her secondary school years, when she won a poetry prize. Later, at the beginning of this century, she became known in cultural circles for her relatively small but distinguished poetic output and her academic pursuits, which included studies in Sufism and Sufi mystics.

She combined profound knowledge with poetic sensitivity. She left her mark on the Lebanese cultural scene with a unique poetic voice, manifested in her literary works that carried the pain of humanity, exile, and memory. With her tragic passing, Lebanon loses a literary and human figure who wrote of the wound in a language that resembled nothing but truth.

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Al Bahri: The Man Who Set Palestinian Theater

He is a playwright and author of 12 plays, nearly 20 novels, and numerous translations. Jamil Habib Afara (al-Bahri) was known as the “Father of Theater.” He was born in 1895 in Haifa and his family name dates back to the mid-18th century, as his ancestor owned a merchant fleet that sailed the Mediterranean between Haifa, Acre, and Tripoli. This is where his family name originated.

He showed early interest in literature and writing. He and his brother, Hanna, were keen to revitalize the literary and intellectual scene in Haifa, establishing the National Library there in 1922. He first published the “Zahrat al-Jamil” (The Beautiful Flower) and later “al-Zahra” (The Flower) which was initially a weekly publication that later became a bi-weekly and continued publication for about nine months after his death in 1931. His last piece was

a journalistic investigation into the execution of the three martyrs: Muhammad Jamjoum, Fuad Hijazi, and Ata al-Zeer, in the city of Acre in 1930. He dedicated his time and his newspaper that day to the souls of these martyrs, leading with: “The terrible hour in Haifa and all of Palestine: Let us commemorate those who gave their lives for the homeland.” A large funeral was held for him, and poems and eulogies were recited and published in the Palestinian press, such as the “Al-Karmel” and “Falastin,” newspapers.

The Department of Culture of the Palestine Liberation Organization posthumously awarded him the Jerusalem Medal for Culture and Arts in 1990, and the Palestinian Ministry of Culture reprinted his first book, “The History of Haifa,” in 2022.

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