The Teacher Tests World Audiences to Think Palestine

Oscar-nominated and BAFTA award-winning Palestinian-British filmmaker Farah Nabulsi is calling for global empathy for Palestinians through her debut feature film, The Teacher.

In an interview with Anadolu, Nabulsi said her goal is to challenge audiences to reflect on the hardships Palestinians face under occupation. “I really want people to ask themselves: Is this a reality they would accept for themselves? And if it isn’t, why have Palestinians been expected to?”

Nabulsi shared her experiences filming The Teacher, which premiered at the Toronto Film Festival on Sept. 9, 2023.

“Given the current reality in Palestine, as Israel conducts a genocide in Gaza, I hope this film offers a deeper human context to that reality. The sociopolitical is important but often missing from the discourse.”

Born and raised in the UK, Nabulsi said a visit to Palestine a decade ago profoundly changed her perspective.

“Despite thinking I knew about the injustice and discrimination, witnessing it firsthand—checkpoints, demolished homes, detained children—was shocking,” she recounted.

“This injustice hit me deeply,” she continued, explaining that storytelling became her way to process and respond.

Drawing inspiration from real life

Nabulsi said the script for The Teacher was shaped by her conversations with Palestinians and her observations during her time in Palestine. The film addresses settler violence, home demolitions, and the treatment of children in military courts.

Referring to a 2011 exchange where an Israeli soldier was released by Hamas in return for over 1,000 Palestinian prisoners, Nabulsi highlighted the disparity in the perceived value of human life.

“It’s this idea that Palestinian lives are not valued like Israeli Jewish lives. That imbalance inspired the story,” she said.

“I never could have imagined, though, the exponential magnification of that imbalance, as we now witness hundreds of thousands of Palestinians being killed, maimed, starved, and subjected to malnutrition and disease in Gaza.”

Filming amid real-life injustices

Filming in the occupied West Bank brought emotional and logistical difficulties, Nabulsi said.

“I didn’t realize how emotionally taxing it would be to witness these injustices while shooting scenes replicating them,” she said.

“It’s different from reading about it or watching it on the news. When your cast and crew have lived through these realities, you feel a responsibility to do justice to their experiences. It takes a mental and emotional toll.”

The film was shot near the village of Burin, close to Nablus in the occupied West Bank, where challenges arose during production.

“We heard that illegal Israeli settlers had descended onto the village, torching olive groves—something depicted in the story itself. On another occasion, I encountered a family with six children standing before the rubble of their freshly demolished home, an act mirrored in the film.”

Nabulsi said she hopes her work will inspire audiences to empathize with Palestinians and support their pursuit of freedom.

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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