‘From Ground Zero’ Review: Gazans Get a Voice

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As a film critic with a deep-rooted empathy for stories that resonate deeply and bring about change, I found “From Ground Zero” to be a profoundly moving and enlightening cinematic experience. Having traveled extensively across the globe, I’ve seen my fair share of hardships and struggles, but this anthology stands out as one of the most impactful and important films I’ve ever encountered.

The film’s unique structure allows viewers to delve into the lives of ordinary people in Gaza, offering a rare glimpse into their daily struggles and triumphs. What sets “From Ground Zero” apart is its raw authenticity – it’s not polished or aesthetically unique, but it doesn’t need to be. Instead, it showcases the resilience and creativity of the people in Gaza who use whatever tools they have at their disposal to tell their stories.

The film’s historical significance cannot be overstated. In 100 years, “From Ground Zero” will undoubtedly be taught in history classes as a testament to the human spirit and the power of art in the face of adversity. But for now, it serves as a call to action – a plea for understanding, empathy, and justice.

One thing that struck me particularly was the humor woven into the film. In a place where life is so harsh, laughter becomes a precious commodity, and “From Ground Zero” doesn’t shy away from showcasing it. One scene in particular, featuring a group of children playing with a makeshift catapult, brought a smile to my face amidst the heavy emotional weight of the film.

In conclusion, I cannot recommend “From Ground Zero” enough. It’s a must-see for anyone seeking a deeper understanding of life in Gaza and the struggles faced by its people. The film opened on Jan. 3, 2025, so be sure to check out theaters and showtimes near you. And remember, as one of the characters in the film says, “Laughter is the best medicine.” So let’s all do our part in spreading a little joy and understanding to those who need it most.

As a passionate cinephile, I can’t help but express my awe when I reflect on the remarkable journey of “From Ground Zero.” When Michael Moore signed as an executive producer, he aptly described it as a “cinematic miracle,” and I wholeheartedly concur. However, words often fall short when attempting to encapsulate its profound impact. As Matt Zoller Seitz so eloquently put it, this film is a rarity for which superlatives are not just inadequate but virtually meaningless.

This anthology of 22 powerful, poignant, and thought-provoking short films, all captured amidst the Israel-Hamas conflict (or genocide, as organizations like Amnesty International and Human Rights Watch have deemed it) during the past 15 months, is a testament to the resilience and creativity of Gazans. Their stories, their struggles, and their dreams are immortalized on screen, offering us a glimpse into a world often overshadowed by conflict. It’s a privilege to bear witness to such a unique cinematic masterpiece.

Given that Israel prohibits international media from entering Gaza and has shut down Al-Jazeera’s operations within the region, it’s truly remarkable that From Ground Zero was able to be made. This project was overseen by Rashid Masharawi, with a team committed to selecting various film ideas. Mentors from the Middle East and Europe oversaw the projects, while seasoned coordinators in Gaza managed the logistics for filming, such as technical resources and personnel. However, it’s crucial to understand that these films are heartfelt accounts of a people, an era, and a location, and they should be mandatory viewing for everyone.

Dealing with Death and Trauma in Gaza

In the short films from the collection “From Ground Zero”, several scenes unfold within the vast tents of a refugee camp situated by the sea. The film titled “Selfie” offers a straightforward and evocative glimpse into this world, starting with a woman writing a letter on the beach, which she then places inside a water bottle and tosses into the ocean. This act symbolizes the movie itself; like a message in a bottle finding its way to a reader, From Ground Zero has remarkably touched our lives outside Gaza, a place that is virtually impossible to enter or exit.

As a film enthusiast with a deep understanding and empathy for stories that delve into the human condition, particularly those exploring trauma and resilience, I find both “No Signal” by Muhammad Al Sharif and “Flashback” by Islam Al Zeriei to be profoundly impactful.

“No Signal” is a gripping short film that masterfully builds intensity as it follows a man’s desperate search through the wreckage of a bombed house, leaving us questioning whether there is any hope or help left for those who have been affected by such horrific events. The uncertainty and frustration portrayed in this piece resonate with me deeply, as I too have faced situations where I was unsure if there were any solutions or if there was anyone still alive.

On the other hand, “Flashback” offers a heart-wrenching portrayal of a young girl’s struggle with PTSD after surviving a bombing. Farah Al Zeriei’s performance is nothing short of breathtaking, as she vividly conveys the terror and emotional turmoil that comes with being haunted by memories of such devastation. The film serves as an important reminder of the long-lasting effects of war and violence on innocent people, especially children.

Both films are poignant reminders of the resilience and strength that can be found in even the darkest of times, and I believe that their messages should be shared with a wider audience to raise awareness about the ongoing struggles faced by those living in war-torn regions.

As a spectator, it’s hard for me not to feel the unrelenting weight of potential danger and ruin, day in and day out. The landscape is littered with emaciated refugees and crumbled structures, and the air is heavy with the relentless hum of military drones, like the whirring of chainsaws overhead. To escape this deafening reality, Farah often immerses herself in music through her headphones. The finale of “Flashback” captures this perfectly – Farah, lost in her music and dancing under the sunshine, a breathtaking sight that echoes another theme from From Ground Zero – the profound role art plays not only as a diversion but also as a shield.

Creating Art & Finding Hope

Bashar Al Balbisi is an expert in dance instruction and choreography, and his movie “Charm” shares a path with the film “Flashback,” featuring a girl who uses music and dancing as a cheerful escape from sadness. It’s a visually stunning short film with elegant camera work and intricate editing, making it truly captivating. Meanwhile, actor Nidal Damo’s film “Everything Is Fine” delves into our shared yearning for art and distraction, particularly in times of war. The story revolves around a stand-up comedian preparing for a show, and even includes some humorous dark humor and slapstick reminiscent of Roberto Benigni.

In Hana Eleiwa’s film “NO!”, the message is the most straightforward about preserving art and optimism, even during the hardest periods. As she states in the movie, Eleiwa seeks a narrative that embodies joy, happiness, hope, love, and music. Rejecting proposals to document various calamities, she eventually discovers SOL Band (consisting of Hassan Nigim, Hamadah Nasrallah, Said Fadel, Rahaf Shamali, Faris Anbar, and Abdelkader Abu Qassim). This group serves as a symbol of the theme, continually nurturing hope, joy, and art through their music and performances.

“Sorry, Cinema” and Other Artistic Confessions

Without a doubt, “From Ground Zero” doesn’t flinch from portraying the brutal realities of genocide and the tragic events unfolding in Gaza. At times, even contemplating hope or finding beauty can feel disrespectful when one is enduring such hardship. Director Etimad Washah, in her film “Taxi Wanissa,” momentarily pauses to share that her brother perished, and she struggled to complete the project. Interestingly, this raw emotional honesty enhances the artistic impact of her work.

As a film enthusiast with a deep appreciation for the power of cinema, I must say that “Sorry, Cinema” left an indelible impression on me. This short film showcases the life and struggles of acclaimed Palestinian director Ahmed Hassouna, who has faced countless challenges in his pursuit to complete his award-winning film, “Istrupya.” Despite being unable to leave Gaza to witness the premiere of his movie in 2019, Hassouna’s story is one of resilience and determination.

What struck me most was the stark contrast between Hassouna’s passion for cinema and the harsh realities he faces on a daily basis. The footage of him fleeing bombs or chasing aid deliveries, like a damaged crate of flour, is heart-wrenching. It’s a sobering reminder of the ongoing conflicts in Gaza and the sacrifices its people must endure.

Hassouna’s admission that he spends less time making movies and more time running for his life is both saddening and inspiring. Despite these hardships, he continues to create art amidst chaos, even using his clapperboard as firewood in a desperate attempt to survive. It’s a testament to the human spirit and the power of creativity to endure in the face of adversity.

As I reflect on Hassouna’s story, I can’t help but feel a deep sense of admiration for his unwavering commitment to his craft, even as he battles for survival. It serves as a reminder that cinema is not just entertainment, but a powerful tool for expression and connection between people from all walks of life. In this case, it has provided a window into the struggles faced by those living in Gaza, and I am grateful for the opportunity to bear witness to Hassouna’s story.

As a long-time admirer of Ranin Al Zeriei’s artistry, I was deeply moved by her return to her bombed-out home, depicted in “Out of Frame.” The raw emotion and resilience she exudes as she sifts through the wreckage to rediscover her creations is a testament to her unwavering spirit.

The juxtaposition of her art, specifically the beautiful sculpture of a head made from shards of mirrors and her painting series, amidst the destruction serves as a poignant reminder of the enduring power of creativity in the face of adversity. The irony is palpable when I see one of her sculptures – a large white dove adorned with pearls, symbolizing peace – lying amongst the debris.

I have always believed that art has the ability to heal and uplift, even in the darkest times. Ranin’s work serves as a beacon of hope and perseverance in a world fraught with conflict. Her courage and determination to bring beauty from the ashes inspire me to find solace and strength in my own struggles.

The Children Are Watching

Titled “Soft Skin,” this captivating short film portrays a group of youngsters, mostly under the age of 10, producing an enchanting stop-motion animation using paper cut-outs. Their narrative revolves around an event that has touched each of them personally. To facilitate accurate identification of their characters’ remains or body parts in the story, their mothers have written their children’s names on their arms or legs. A young girl reveals that her one-year-old brother can only say “daddy” and mimic an ambulance siren sound.

As I sat down to watch this heart-wrenching animation, I was struck by its raw authenticity. The artistic depiction of Gaza through paper cut-outs is strikingly beautiful yet haunting, with a bird serving as an evocative symbol for the devastation wrought by war. The bird, metaphorically collecting buildings and reducing them to piles of rubble, resonates deeply.

The sounds in this film, however, are all too real – the piercing cries of bombs, the crumbling of structures, the drone of military aircraft, and the heart-wrenching screams of those caught in the chaos. It’s a chilling reminder of the harsh reality these children live with every day.

In this animation, a young girl finally finds solace in sleep after erasing her name from her limbs with a marker – a poignant representation of the pain and fear that haunts her daily life. This powerful piece leaves an indelible mark on the heart, serving as a stark reminder of the impact of war on innocent lives.

A significant portion of the film From Ground Zero (from “The Teacher” to the poignant “School Day”) is populated by children. This is not just a narrative device but also a reflection of reality, as children constitute about half of Gaza’s population given their relatively short life expectancy. Watching this film can help viewers with preconceived political views approach it more objectively. Despite Rudy Giuliani’s claim that Palestinians are taught to hate and kill from an early age at just two years old, watching these children live their lives and share their stories quickly dispels such misinformed and cynical beliefs.

Wouldn’t it be impossible for anyone to view a heart-wrenching short film such as “Farah and Myriam” with any feelings of hate or prejudice? This poignant piece by Wissam Moussa chronicles the lives of two young girls, Farah Moussa and Myriam Abed Elhadi. Tragically, Myriam lost her mother, sister, and grandparents in a bombing that also destroyed her home, claiming the lives of 24 people. The other girl, who appears to be around 12 or 13 years old, speaks directly into the camera, saying, “I am exhausted. I can’t go on living like this.” Their childhoods, along with their homes and families, have been devastated by these events.

‘From Ground Zero’ Is a Crucial Piece of History

Although From Ground Zero doesn’t provoke visual trauma like much of the Gaza footage, it carries a heavy emotional weight. The anthology style keeps things moving and prevents prolonged feelings of depression, yet its purpose remains to stir emotions such as sadness, anger, and action. It’s disheartening that American tax dollars contribute to funding the weapons responsible for the deaths of over 50,000 Gazans, and this film serves as a just call for justice.

Additionally, it serves as a channel for suppressed empathy, offering us profound understanding into the everyday struggles and ordeals of individuals enduring unimaginable hardships. It’s essentially a vast depiction of anguish, sorrow, trauma, and dread, yet intertwined with moments of happiness, imagination, and optimism – somewhat reminiscent of Picasso’s ‘Guernica’. However, it lacks the polished finesse and aesthetic originality typically associated with professional work. Yet, this is not its purpose at all (and would be quite challenging to achieve). Instead, it embodies post-neorealism, where individuals utilize whatever resources they have (and an abundance of ingenuity) to narrate their tales.

Regardless of one’s artistic evaluation of the movie “From Ground Zero,” its historical significance (and relevance) cannot be contested. Similar to “The Diary of Anne Frank,” it offers a personal account of life in war, penned by the very subject. In the future, it will likely be a staple in history courses. However, for the present, it deserves appreciation, widespread dissemination, and engagement. The film premiered on January 3, 2025. Here you can find theaters and showtimes.

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2025-01-04 14:02