Uri Klein writes that ‘no Israeli film has delegitimized the state.’ The films, he says, are a mere critique of an aspect of society. This would be great in any normal country but Israel is simply not viewed as any normal country. As a South African I can vouch for the fact that no country hits our newspapers, our TV stations and our radio talk-shows as does Israel. Over two hundred thousand people have been killed in Syria, but our journalists grow rich on their stories about Israel. Christian children are beheaded but our government officials shout of Apartheid in Israel, worse they say than was ever experienced in South Africa.
In 2013 two Israeli films came to South Africa. “The Invisible Men” and “Within the Eye of the Storm” wowed audiences throughout the country. Both these movies 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 Men’ 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 ‘Palestine’ 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 men’s anger at Israel for not granting them asylum is palpable, whilst they gloss over the fact that they were forced to flee Palestine. Israel is portrayed as a free and open society but it is the message of it being closed to Palestinians – “I was born here,” says Louis, one of the protagonists – that is all pervading. And so the movie becomes an affirmation for the viewer, fed the diet of Israel being a racist, Apartheid state, that Israel is just that. At no point is context provided.
In her movie, ‘Within the Eye of the Storm’ director Shelley Hermon follows two fathers, both members of the peace organization ‘Combatants for Peace.’ One is an Israeli, and the other a Palestinian, and each have 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. Many Palestinian children have tragically died as a result of the conflict, but most 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 an entire movie centred round the extremely rare occurrence of an IDF soldier purposefully shooting a ten year old. Of course once again the audience salivated over the message that IDF soldiers shoot children for target practice, a confirmation of something they have heard and read about continually. Interestingly, when questioned in a Q&A after the screening of the movie, 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 “Occupation is racist”; the attitudes of the Israelis interviewed are harsh and unbending, far-removed from wanting peace. Where were those who seek peace and who feel empathy for their fellow human beings?
Do these movies depict truth? I accept that they do, but they depict a selective truth and because Israel is not viewed or judged as a normal society, this is dangerous, extremely dangerous. Movies such as these travel the world, and are screened for gullible, ignorant audiences who are only too happy to have their perceptions of Israel confirmed by ‘loyal’ Israeli film directors who profess deep love for their country. They are veritable fodder for the BDS and other such nefarious groups. The damage they cause is irreparable for to present half-truths is to obfuscate the truth? It is as good as the untruth.