Wire report
A Fidai Film review – Palestinian collage film transforms suppressed footage into works of art
Using archive material of destroyed houses, terrorised children and dead bodies, Kamal Aljafari adds humanity to the reels by overlaying poems by Palestinian authors In Arabic, “fidai” means someone willing to sacrifice themselves for the greater good. Borrowing this word, which is at times used in a military context, for his collage film, Palestinian film-maker Kamal Aljafari stages a potent uprising of images against the tide of propaganda and historical erasure. Much of the film draws on archive materials once housed in the Palestine Research Centre in Beirut. In 1982, during the Lebanese civil war, Israeli forces raided the centre and seized the archive. Most of these documents on Palestinian history – books, newspapers, audiovisual artefacts – are believed to still be in the hands of the Israeli army. Obtained through clandestine means, the footage that resurfaces in Aljafari’s film
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Using archive material of destroyed houses, terrorised children and dead bodies, Kamal Aljafari adds humanity to the reels by overlaying poems by Palestinian authors In Arabic, “fidai” means someone willing to sacrifice themselves for the greater good. Borrowing this word, which is at times used in a military context, for his collage film, Palestinian film-maker Kamal Aljafari stages a potent uprising of images against the tide of propaganda and historical erasure. Much of the film draws on archive materials once housed in the Palestine Research Centre in Beirut. In 1982, during the Lebanese civil war, Israeli forces raided the centre and seized the archive. Most of these documents on Palestinian history – books, newspapers, audiovisual artefacts – are believed to still be in the hands of the Israeli army. Obtained through clandestine means, the footage that resurfaces in Aljafari’s film
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According to The Guardian’s source item, A Fidai Film review – Palestinian collage film transforms suppressed footage into works of art, Using archive material of destroyed houses, terrorised children and dead bodies, Kamal Aljafari adds humanity to the reels by overlaying poems by Palestinian authors In Arabic, “fidai” means someone willing to sacrifice themselves for the greater good. Borrowing this word, which is at times used in a military context, for his collage film, Palestinian film-maker Kamal Aljafari stages a potent uprising of images against the tide of propaganda and historical erasure. Much of the film draws on archive materials once housed in the Palestine Research Centre in Beirut. In 1982, during the Lebanese civil war, Israeli forces raided the centre and seized the archive. Most of these documents on Palestinian history – books, newspapers, audiovisual artefacts – are believed to still be in the hands of the Israeli army. Obtained through clandestine means, the footage that resurfaces in Aljafari’s film
Context
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Primary source: A Fidai Film review – Palestinian collage film transforms suppressed footage into works of art via The Guardian. VINI cites and links the source; it does not reproduce the publisher’s full article text without rights clearance.
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- A Fidai Film review – Palestinian collage film transforms suppressed footage into works of artThe Guardian - 2026-10-12T08:00:49+00:00
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