With a combination of Hollywood, European, and Israeli film; documentary; news coverage; and excerpts of 'live' footage shot in the West Bank and Gaza strip, Muqaddimah Li-Nihayat Jidal (Introduction to the End of an Argument) critiques representations of the Middle East, Arab culture, and the Palestinian people produced by the West. The video mimics the dominant media's forms of representation, subverting its methodology and construction.
An oblique, albeit powerful documentary that examines the current conditions, politics, and economics of South Lebanon. The tape focuses on the social, intellectual, and popular resistance to the Israeli occupation, as well as conceptions of "the land" and culture, and the imperiled identities of the Lebanese people. Simultaneously, the tape self-consciously engages in a critique of the documentary genre and its traditions.
Hostage: The Bachar Tapes (English Version) is an experimental documentary about "The Western Hostage Crisis." The crisis refers to the abduction and detention of Westerners like Terry Anderson, and Terry Waite in Lebanon in the 80s and early 90s by "Islamic militants." This episode directly and indirectly consumed Lebanese, U.S., French, and British political and public life, and precipitated a number of high-profile political scandals like the Iran-Contra affair in the U.S.
"How can the distinction between "man" and "machine" still be made given today's technology? In modern weapons technology the categories are on the move: intelligence is no longer limited to humans. In Eye/Machine II, Farocki has brought together visual material from both military and civilian sectors, showing machines operating intelligently and what it is they see when working on the basis of image processing programs. The traditional man-machine distinction becomes reduced to "eye/machine", where cameras are implanted into the machines as eyes.
The Earth Is Young takes as its starting point a series of interviews conducted with Young Earth Creationists, who find evidence of a six-day, six-thousand-year old creation in their reading of the fossil and geological record. The film frames these encounters with depictions of the slow and patient work of young paleontologists, and the strange, shimmering life in a drop of pond water, both of which point toward a world far older and more complex, if no less fantastic.
Shot in a local Natural History Museum in northern Israel. 100 white doves fly around cabinets of stuffed birds and other animals. This is a symbol of a culture which is unwilling to let the past go, and lives so naturally with the dead. They stand in silence, but fully present, as we continue living.
Note: This title is intended by the artist to be viewed in High Definition. While DVD format is available to enable accessibility, VDB recommends presentation on Blu-ray or HD digital file.
ḤARAM is an essay film portraying the urgent contemporary situation at the Haram Al Sharif/ Noble Sanctuary in the Old City of Jerusalem reflecting on the growing Temple Mount Faithful movement whose goal is to build the Jewish Third Temple on this holy landscape and in turn to assert Jewish sovereignty over this holy Muslim site.
Director and Editor: Cynthia Madansky
Cinematographer: Michele Paradisi
With Nazmi Al Jubeh and Avital Itzhak
Sound Design: Binya Reches
Graphic Design: RRNR Studio
In 1966, the Syrian government's Ministry of Endowments solicited plans for a building to replace a 14th-century Mamluk mosque in Martyr's Square in the center of Damascus. A young architect proposed a design for a 5-star hotel and new mosque. In 1971, his plans were scrapped. In 1982, a building began to be built. Hospital? Parking garage? Military housing? The project--now called the Basel al-Asad Center--has been the subject of much rumor and speculation. As of 2007, the building remains unfinished.
This short animation explores various ways to narrate an incident that once took place in the mythical Hotel Carlton. Against images of the deserted hotel today, the artist sketches situations that evoke the rumors that once circulated around the place and the people who inhabited it.
This title is only available on Radical Closure.
Subtitled "The Refusenik", "The Zealot", and "The Father", this video takes us on a journey where Germans, Turks, Israelis, Palestinians, fathers, grandmothers, daughters and animals are together for 13 minutes.
An oblique, albeit powerful documentary that examines the current conditions, politics, and economics of South Lebanon. The tape focuses on the social, intellectual, and popular resistance to the Israeli occupation, as well as conceptions of "the land" and culture, and the imperiled identities of the Lebanese people. Simultaneously, the tape self-consciously engages in a critique of the documentary genre and its traditions.
Hostage: The Bachar Tapes (English Version) is an experimental documentary about "The Western Hostage Crisis." The crisis refers to the abduction and detention of Westerners like Terry Anderson, and Terry Waite in Lebanon in the 80s and early 90s by "Islamic militants." This episode directly and indirectly consumed Lebanese, U.S., French, and British political and public life, and precipitated a number of high-profile political scandals like the Iran-Contra affair in the U.S.
Actress Maisa Abd Elhadi was shot while protesting in 2021. This short reimagines the moment the actress danced with the forces and through creativity removed all obstacles, for herself and those before and after her.
Chic Point was shot in a fictional location: the occupied catwalk. Employing all the elements of a fashion show, models reveal their abdomens in outfits designed especially to suit Israeli checkpoints. For Israelis in the present time, the individual Palestinian body is the most dangerous weapon there is, and it is therefore the subject of ongoing and humiliating surveillance.
This title is only available on Radical Closure.
A historical analysis of the on-going war in the Western Sahara. Liza Bear interviews Abdullah Majdid, the Polisario Front's United Nations representative. The tape addresses Morocco's U.S.-backed military effort to subjugate the indigenous Sahrawi population and annex one of the world's largest phosphate deposits, as well as the Sahrawis' conditions for a referendum.
There are approximately 30,000 Filipino guest workers living within the State of Israel. The majority are female and work as caregivers for the elderly or sick. In Tel Aviv they live in shanty town conditions around the central bus station also known as the ‘Tachana Mercazit’. On Saturdays, buses in the Tachana do not work, and this giant modernist building is occupied by guest workers, who spend their time shopping, partying and socializing in bars, clubs and shops within the compound. Beauty contests are very popular among Filipinos both at home and abroad.
In 1966, the Syrian government's Ministry of Endowments solicited plans for a building to replace a 14th-century Mamluk mosque in Martyr's Square in the center of Damascus. A young architect proposed a design for a 5-star hotel and new mosque. In 1971, his plans were scrapped. In 1982, a building began to be built. Hospital? Parking garage? Military housing? The project--now called the Basel al-Asad Center--has been the subject of much rumor and speculation. As of 2007, the building remains unfinished.
Right after the first Iraq war, the filmmaker visits his family in Iraq. He tries to reconstruct the war from different points of view, all depicted on the same screen at the same time: U.S. airplanes dropping bombs, his parents fixated on the television, and the family welcoming him back.
This title is only available on Radical Closure.
One of Zaatari’s earliest experiments in documentary video, All Is Well on the Border emerged from the filmmaker’s desire to understand Israel’s occupation of Southern Lebanon following the 1982 Lebanon War. The video presents a series of testimonies by Lebanese citizens who were detained during the occupation, each presenting an image of resistance that falls outside the dominant narrative of liberation and solidarity promoted by the Lebanese left.
An intimate dialogue with Soha Bechara, ex-Lebanese National Resistance fighter, in her Paris dorm room. The interview was taped during the last year of the Israeli occupation, one year after her release from captivity in El-Khiam torture and interrogation center (South Lebanon) where she had been detained for 10 years—six in isolation. Revising notions of resistance, survival, and will, the overexposed image of the survivor speaks quietly and directly to the camera—not speaking of the torture, but of separation amd loss; of what is left behind and what remains.
A Palestinian filmmaker is writing a script in his New York apartment during the first Gulf war. As much as he tries to shut himself off from the exterior world, images of past wars in the Middle East come back to haunt him.
This title is available on Radical Closure and for single screenings upon request.
Zaatari’s contribution to Lebanon’s Pavilion at the Venice Biennial 2013. This video offers a portrait of a public school and a tribute to those refusing illegal military orders.
Through collage, Alazeef shows the dreams and the fears of a typical Iraqi soldier, a week before the 1991 Desert Storm, compared to the huge war machine. Through poetic narration, Alazeef humanizes the "enemy" and separates the people and soldiers on both sides from political agendas. The control of the mise-en-scene gives the film a radiant surreal feeling.
Following on from the 2006 Israeli aggression on Lebanon, the filmmaker tries to film the destruction of Beirut. We witness a city deserted by life, and ghostly characters who, featured in his earlier films, talk about living through such a war.
This title is only available on Radical Closure.
There are approximately 30,000 Filipino guest workers living within the State of Israel. The majority are female and work as caregivers for the elderly or sick. In Tel Aviv they live in shanty town conditions around the central bus station also known as the ‘Tachana Mercazit’. On Saturdays, buses in the Tachana do not work, and this giant modernist building is occupied by guest workers, who spend their time shopping, partying and socializing in bars, clubs and shops within the compound. Beauty contests are very popular among Filipinos both at home and abroad.
