In the framework of the Palestinian Ministry of Culture’s ongoing efforts to further support the growth of the Palestinian film industry and preserve its cinematic heritage, and as part of our partnership with UNESCO and the support of EU, we are pleased, we are pleased to launch “The Palestinian Film Directory”. The Directory includes most of the Palestinian film productions to this date. The directory utilized international agreed upon standards and research methodology to determine the films’ identity taking into consideration the specificity of the Palestinian film productions and the Palestinian context.

This directory’s objective is to formulate a sustainable and long-term mechanism for data collection and a database  and  eventually a source of information on Palestinian cinematic achievements. This comes based on our belief of the importance and specificity of the Palestinian cinematic experiences to the national and international film community, and the need to preserve and build on it as part of the world film heritage.

The art of filmmaking in Palestine is a tradition and an artistic form, used and disseminated since the beginning of the twentieth century. The early generation of Palestinian filmmakers used this medium to convey the Palestinian narrative, image and representation during the oppressive    British Mandate era and the Israeli occupation of Palestinian land and the resultant Nakba1948. Successive generations of film makers held that tradition, developed it and mastered its artistic and technical components despite all the challenges and obstacles imposed by the complex geopolitical reality.

Despite the vitality and momentum of the Palestinian cultural scene and its richness that corresponds to its diverse social and cultural fabric in the pre-Nakba period, it has experienced a sudden interruption in all its spectrums and features due to Israel occupation of Palestine, and the forced dispersal and displacement of its people. This in turn has hindered the possibilities of a natural development of all arts in the absence of any form of stability, or potential investment by the state.

Between the Nakba (1948) and the Naksa (1967), Palestinians experienced the biggest humanitarian catastrophe with all its political, social, economic and intellectual consequences. The impact of this collective trauma took its toll on all segments of the society and obviously reflected on every Palestinian filmmaker and artist.

However, after a relative period of silence (1948-1967) Palestinian filmmakers continued using the art of filmmaking as a medium of expression and resistance against all attempts of obliterating their identity, and the distortion of their narrative, and history. This period of filmmaking relied mostly on recording and documenting, probably as a natural outcome of the state of loss and dispossession.  The Palestinian cinema has gradually developed its as anti-colonialist and anti-imperialist voice which accompanied the emergence of “the Palestinian Revolution” of 1965 and  subsequently materialized as the "Cinema of the Palestinian Revolution".

The Cinema of the Palestinian Revolution (1968-1982) played a significant role in transmitting the Palestinian cause, and the image of the Palestinian people in the homeland, diaspora and refugee camps to the world. It was a mean of resistance and resilience, as well as a tool of connecting Palestinians in the homeland and the diaspora. Consequently, the Cinema of the Palestinian Revolution served as platform to introduce and inform the audience of the  Palestinian cause. It also conveyed the aspirations of the Palestinian people, and upheld its historical narrative against all allegations and distortion attempts.

According to the late Palestinian film critic Bashar Ibrahim, the 1980s  produced the emergence of  "the New Palestinian Cinema". This period encompassed significant change and tangible diversity in terms of form and style, which was an outcome of the new geopolitical reality; the different geographies in the homeland and the diaspora. In addition, there is evidence of artistic and technical developments due to increased levels of professionalism, and professional/technical academic competence of most creative individuals in the field. Additionally, there are signs of sophisticated and mature cinematic language which is present in the works of both veteran filmmakers and within the emerging talents alike who focus on innovation, modernization and a constant search for their own cinematic language.

In a relatively short period compared to the history of national cinemas, Palestinian cinema achieved extensive and successful presence in film festivals and markets, and played a vital role both in the Palestinian cultural scene and in the international film scene. Many Palestinian productions and names took part and gained recognitions in major international festivals and platforms for their creative cinematic achievement.

Finally, Palestinian cinema, in all its phases, remains an integral part of the Palestinian narrative, as it contributed to the preservation of the national memory, and to the reinforcement of culture and identity. And it continues to confront all attempts to obliterate the Palestinian existence for a people who are still struggling for their freedom and basic rights in every aspect of their lives, whether in the homeland or the diaspora.

Disclaimer: The content of the films included in the directory reflects the views of the author/director, and not the opinions or views of the Palestinian Ministry of Culture.