‘From Ground Zero’ Review: In Palestine’s Striking Shortlisted Oscar Entry, Gazans Find Hope Amid Wreckage

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A collection of chilling visuals tie together the 22 brief films in the poignant Oscar submission, From Ground Zero, Palestine: the ominous whirr of drones cruising Gaza’s skies; debris-covered bodies in areas that were once bustling neighborhoods; and makeshift camps housing displaced people. These scenes, though shocking in their repetition, have come to symbolize a perpetual tragedy. Those who have witnessed Israel’s relentless and intensifying bombardment of Gaza over the past 16 months, either through the lenses of journalists like Bisan Owda (who won an Emmy for her reporting) or pleas from those seeking aid to flee the embattled territory, will recognize these images.

In the anthology film “From Ground Zero,” produced by Palestinian director Rashid Masharawi and distributed by Watermelon Pictures, these films don’t simply depict life in Gaza. Instead, they serve as a gateway, providing a way for filmmakers to cope with their present hardships and imagine optimistic futures.

In the anthology work “From Ground Zero,” produced by Rashid Masharawi and distributed by Watermelon Pictures, the films don’t just represent life in Gaza. Instead, they act as a passage, allowing filmmakers to express their struggles and envision hopeful prospects for the future.

In this film, brief scenes lasting three to six minutes were specifically commissioned by Masharawi. He encouraged Gazan artists to propose projects depicting everyday life in the Palestinian territory. These shorts, not bound by any specific genre, often draw power and liberation from the blurred lines between storytelling and real-life documentation. They push creative boundaries, employing first-person, diary-like accounts or stop motion animation to narrate stories about death, displacement, and survival.

It’s absolutely astonishing that From Ground Zero, a movie that has made it to the 15-title shortlist in the Oscars’ international feature category, even exists at all. Creating a film is difficult enough under ideal conditions, but for filmmakers working against the odds of survival and annihilation, the challenges must be immense.

Beyond typical views of devastation that echo the eerie images in Oksana Karpovych’s chilling Ukraine war documentary Intercepted, these short films also feature an intimately personal perspective, often focusing on close-ups rather than wide shots or aerial views, which are seldom seen among those experiencing conflict zones.

In these emotionally charged shorts, I find myself drawn in close as a gamer would peer at their screen. Muhammad Al Sharif’s Sorry Cinema portrays a filmmaker struggling for firewood, using his clapperboard instead; while Ahmed Al Danaf’s School Day follows a boy visiting his teacher’s grave, studying alongside academic spirits. Lastly, Damo Nidal’s Everything Is Fine chronicles a comedian preparing for his stand-up set, but his journey to take a shower is filled with long lines for water and unexpected bombings that disrupt his bath.

Nidal’s movie skillfully blends humor with a remarkable touch. Laughter, be it from the modest crowd at this comedy event or the kids in Hana Eleiwa’s “No”, reflects lives that bravely resist negative influences.

In the film “From Ground Zero,” the pressing issue of water scarcity and its crucial role becomes a frequent topic. Reports coming from Gaza highlight how it is almost inaccessible, leading to numerous crises. Throughout these short movies, characters are consistently hoping for and struggling to locate this essential resource.

Rabab Khamis’ “Recycling” is one of the most poignant depictions about this topic. The film begins with a woman collecting water from a station. Struggling under the weight, she returns to her modest dwelling in a worn-down structure. Without any dialogue, this short film shows how the woman carefully rations the water. She drinks some and uses the rest to bathe a young child and wash clothes. The remaining water drippings from the bath and wash are collected for use in the toilet. Whatever is left over is given to a small collection of thriving succulents. The woman works diligently, her intensity highlighted against a backdrop of children’s voices and humming drones.

As I, a gamer, immerse myself into Reema Mahmoud’s ‘Selfie’, my journey begins with a breathtaking view of the Mediterranean Sea. The movie concludes with the filmmaker sending a heartfelt letter in a bottle, casting it out onto the vast waters. This grand sea serves as a recurring motif throughout ‘From Ground Zero’. Folks bathe in its waters, play near the waves, and when given the chance, seek solace on its shores for a moment of tranquility.

In Neda’a Abu Hassnah’s work titled “Out of Frame“, artist Ranin Al Zeriei examines the remnants of her devastated studio. She discusses some of the pieces she managed to save, such as a print depicting a ship battling the sea. “The only view we have in Gaza is the ocean,” Al Zeriei explains. “Without it, I’m not sure what our future would hold.

In the second part of Al Zeriei’s statement, “what would become of us,” encapsulates the essence of the film “From Ground Zero“. The movie counters despair by employing art not only to document current realities but also to envision a future. Direct-to-the-point animations such as Khamis Masharawi’s “Soft Skin” and Mahdi Kreirah’s poignant “Awakening” express hope more explicitly.

In Masharawi’s movie, youngsters use stop-motion animation as a means to cope with their distressing experiences. These kids learn to express their harrowing ordeals (such as parents marking family names on body parts in preparation for limb separation due to bombs) through artistic mediums. Meanwhile, Kreirah’s film recounts the tale of a father awakening from a coma to discover that amidst ongoing conflict, he has a newborn child.

These positive instances arise organically, not artificially or as an effort to soften current hardships. Instead, they create fresh portrayals of Palestinian existence, focusing on celebrating resilience rather than solely recording misery.

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2025-01-10 02:55