This blog is featured in The Times of Israel:
http://blogs.timesofisrael.com/an-israeli-truth-fact-or-fiction/.
An Israeli Truth: Fact or Fiction
³When there is no-one left to bear witness, how far can we trust the
evidence of our eyes alone² Yael Hersonski, director of the movie, Film
Unfinished¹ questions. Even when there are those to bear witness, how far
can we trust the evidence of the eyes?¹ we must ask after viewing The
Invisible Men,¹ and Within the Eye of the Storm¹, two Israeli movies that
have recently been screened in South Africa.¹
Yael Hersonski¹s Film Unfinished¹ is a gripping rendition of actual life
in the Warsaw Ghetto. In May 1942, just 2 months before the liquidation of
the ghetto, the Nazis sent in a film crew in order to film the Jews as a
means of propaganda. Four reels of raw film entitled as Ghetto¹ were
found in a German archive. Hersonski skillfully weaves this raw footage into
a documentary of unforgettable proportions. We see the poverty and
degradation of the Jews living in the ghetto, and at the same time we see
the Nazi propaganda machination at work. Through the wonderful narration
and Hersonski¹s masterly direction we are made aware of how easy it could
have been for the Germans to depict that that they wanted to, rather than
the truth.
Both The Invisible Men¹ and Within the eye of the Storm¹ purport to
represent the truth. And both probably do. But herein lies the crux. There
are two types of truth: the whole truth and segments of truth.
The Invisible Men¹ depicts the lives of three gay Palestinians who seek
refuge in Israel because as homosexuals their lives, in Palestine, are in
danger. Yet they cannot gain legal status in Israel because Palestine¹ is
considered enemy territory. A below-the radar Israeli organization assists
them obtain asylum in a country in Europe. But this means leaving their
language, their culture and all that is familiar behind. The mens¹ anger
at Israel for not granting them asylum is palpable. So while Israel is
positively portrayed as a free and open society it is this message of being
closed to Palestinians – ³I was born here,² says Louis, one of the
protagonists – that is all pervading. And so the viewer leaves the theatre
with confirmation that his pre-conceived view of Israel as a racist,
apartheid-type state is correct. How sad that in his many on-screen
conversations and interviews with the three Palestinians, the director Yariv
Mozer never saw fit to contextualise and explain the predicament faced by
Israel, if only so as to ensure that the audience would understand it. But
then, had the movie conveyed Israel¹s standpoint, would it have proved as
popular?
In her movie, Within the Eye of the Storm¹ director Shelley Hermon
follows two fathers, both members of the peace organization ŒCombatants for
Peace¹, one an Israeli, and the other a Palestinian, who have each lost a
daughter in the conflict.
The Israeli girl, Smadar Elhanan, was killed in a suicide bombing, while the
Palestinian, Abir Aramin was shot by an IDF soldier outside her school, at a
range of 40 metres, with no provocation whatsoever. Many Palestinian
children have died as a result of the conflict, but so many more as a result
of being human shields, or because they were in the line of fire during an
attack, and yet Hermon saw fit to make a movie centred round the extremely
rare occurrence of an IDF soldier purposefully shooting a ten year old.
Did Hermon consider that this feeds into the very prevalent belief that IDF
soldiers shoot children for target practice, or were such considerations
irrelevant in the making of her movie? Interestingly, when questioned,
Hermon had no idea how many Palestinian children have been killed in this
manner, and yet she chose to make a movie with this as its central theme.
The movie is replete with images that feed into the preconceived belief that
Israel is a racist apartheid state: the fence is depicted as concrete and
only concrete; the slogans displayed by Israeli protesters eg, ³Occupation
is racist²; the attitudes of the Israelis interviewed are harsh and
unbending, far-removed from wanting peace.
Sadly both The Invisible Men¹ and Within the Eye of The Storm¹ are
traveling the world, and are screened for gullible, ignorant audiences who
are only too happy to have their perceptions of Israel confirmed by loyal¹
Israeli film directors who profess deep love for their country. These
movies are veritable fodder for the BDS and other such nefarious groups. The
damage they cause is irreparable. At what point will film directors such as
Mazor and Hermon realize that to present half-truths is to obfuscate the
truth? It is as good as the untruth.