‘Coexistence, My Ass!’ Review: Israeli Comedian Makes for a Compelling Guide to the Middle East Mess in Engaging Doc

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Part of the excitement of working on a documentary might be not knowing how the story will unfold, whether it will end in success or failure. However, even the makers of “Coexistence” and “My Ass!” likely could not have anticipated just how ominous a path history would take when they began filming Jewish Israeli comedian-activist Noam Shuster Eliassi around 2020. A fervent advocate for equal rights for both Palestinians and Jews, Noam is followed throughout the first two thirds of this captivating movie as she attempts to shift people’s perspectives through humor.

Unexpectedly, her comedy career, the movie itself, and the idea of a two-state peace agreement were all thrown into chaos on October 7, 2023, due to Hamas’ attacks and the Israeli response in Gaza. The outcome is a film that finds itself without straightforward resolutions or finality, much like Israel and Palestine themselves.

In spite of the challenging environment, Director Amber Fares manages to create a compassionate depiction of courage and resilience in the face of pressure, while providing an uncommon glimpse into the strained yet enduring friendship between Israelis and Arabs, which is continually tested by a political landscape intent on fostering division and enmity.

Born to an Iranian-Jewish mother and an Ashkenazi Romanian father, Noam is almost a tangible symbol of the blended culture and future that Israel-Palestine once envisioned through their melting pot ideal. At seven years old in the early 1990s, her progressive parents relocated the family to Neve Shalom, also known as Wāħat as-Salām or the “Oasis of Peace,” a unique community comprised of both Arab and Israeli families. Growing up, Noam was fluent in both Arabic and Hebrew and formed a close bond with her Arab friend, Ranin, in this one-of-a-kind community that stood out from the rest of the country.

As an adult gamer, I find myself stepping into Harvard University, not for a game, but for a fellowship at their Divinity School. Here, I’m working on a one-person show that delves into the complexities of Israeli-Palestinian politics, as well as a classic topic close to my heart: the relentless quest by my family to find me a suitable partner.

Endowed with quick wit and an endearing demeanor, Noam gains widespread recognition, particularly upon her return to her homeland following the COVID-19 pandemic’s global impact causing expatriates to return home. Several of her comedic skits gain significant attention, such as one poking fun at Benjamin Netanyahu for always bringing dirty laundry with him when he visits the United States. Her satirical song “Dubai, Dubai,” sung flawlessly in Arabic, also garnered popularity by criticizing the betrayal of the Palestinian cause by wealthy neighboring oil-rich nations. She also secured a regular spot on a local television program where she engaged in friendly debates with a more conservative Israeli male host (later, filmmakers recorded a heated off-screen political argument between them). Noam’s live performances attract a dedicated fanbase due to their undercurrent of self-deprecation; at one show, she comforted an audience that was primarily Arabic speakers, letting them know her routine would only last seven minutes, not 70 years.

After October 7th, the camera shifts focus from Noam’s performances to capturing her reactions to the news events, which are filled with horror, just like everyone else. However, she soon resumes her activism, participating in protests against Netanyahu’s regime. Interestingly, her views on a two-state solution sometimes differ from those of other protesters. The camera also records tense confrontations during these protests, as well as more personal family disagreements, particularly between Noam and her Aunt Zipi, who supports the Palestinian cause only after the Hamas attack in October. All these scenes underscore the isolation and challenges faced by Israeli leftists who continue to strive for the elusive dream of coexistence.

Director Fares, with her background in news production for Al Jazeera and Rai, and editor Rabab Haj Yahya, known for the Netflix documentary Speed Sisters, skillfully maintain a brisk pace throughout their work. The editing is flawlessly timed, enhancing both the humor and the emotional impact of key moments. However, if the film seems to end on a somewhat subdued note, it might be due to historical events or time constraints to meet the Sundance deadline, which may have prevented inclusion of more recent hostage release news. Fundamentally, though, the story remains unresolved and Noam serves as an engaging tour guide through this limbo-like state.

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2025-01-28 23:24