I Am from Palestine

Flying Paper tells the uplifting story of resilient Palestinian youth in the Gaza Strip on a quest to shatter the Guinness World Record for the most kites ever flown.

An Israeli film director interviews fellow veterans of the 1982 invasion of Lebanon to reconstruct his own memories of his term of service in that conflict.

The Palestinian Film Archive contained over 100 films showing the daily life and struggle of the Palestinian people. It was lost in the Israeli siege of Beirut in 1982. Here interviewees describe from memory key moments from the history of Palestinian cinema. These scenes are drawn and animated. Where film survives, the artist’s impressions are corroborated. This is a film about reconstruction and the idea that cinema is an expression of cultural identity – that cinema fuels memory.

Hasan Everywhere is an animation which broaches the subtlety of a relationship between a man and a woman who bear the passports of enemies, to sympathetically deal with the subjects of death, grief, lost opportunity; but mostly it seeks to demonstrate the possibility of friendship triumphing over the deepest of rifts between two people. In that regard it is most unusual among the standard fare of animated shorts.

In Layaly Badr’s documentary short, Road to Palestine, seven-year-old Layla – who has been badly injured in an air raid – lives in a refugee camp outside Palestine. Layla and her friends describe how they imagine Palestine, despite never having seen it.

Eleven-year-old Wardi’s great-grandfather leaves behind a will suggesting looking to the past to find the future. Searching the house, Wardi finds out about her Palestinian homeland from family memories.

A documentary about the Israeli-Palestinian conflict that has lasted for more than 50 years. Contains some interviews with the children in this conflict.

Salma Zidane, a widow, lives simply from her grove of lemon trees in the West Bank's occupied territory. The Israeli defence minister and his wife move next door, forcing the Secret Service to order the trees' removal for security. The stoic Salma seeks assistance from the Palestinian Authority, Israeli army, and a young attorney, Ziad Daud, who takes the case. In this allegory, does David stand a chance against Goliath?

Born in Brooklyn to Palestinian refugee parents, Soraya (Suheir Hammad) decides to journey to the country of her ancestry when she discovers that her grandfather's savings have been frozen in a Jaffa bank account since his 1948 exile. However, she soon finds that her simple plan is a complicated undertaking — one that takes her further from her comfort zone than she'd imagined.

Tawfiq’s Reef chronicles the plight of Palestinian fishermen in Gaza, heavily restricted in the area in which they can fish, often indebted, shot at, harassed or imprisoned by the Israeli Navy on the narrow sliver of fishing waters available to them off the Gaza coastline, making this one of the most dangerous professions in the world.

After fifteen years of imprisonment, Ziad struggles to adjust to modern Palestinian life as the hero everyone hails him to be. Unable to distinguish reality from hallucination he unravels and forces himself to go back to where it all began.

Filmmaker Elia Suleiman travels to different cities and finds unexpected parallels to his homeland of Palestine.

The White Elephant is an experimental video loosely based on the adventures of a Palestinian teenager coming to grips with her angst within the political climate of the Oslo Accords in Palestine in the 1990s. Narrating a story of lies amongst thieves, the confessional and at times darkly humorous video, projects a confrontational gaze onto the landscape through acts that transgress political boundaries and explore personal desires.

The pro-Palestinian, anti-capitalist, BDSM-provocative, techno-punk performance art ensemble Hatari unsurprisingly drew attention to themselves with their performance at the Icelandic qualifiers for the Eurovision Song Contest. So much so that they won and therefore were allowed to perform at the main event in Tel Aviv. But what now? Should they boycott the event, swallow their idealism, or use their airtime to criticise the host country for their illegal occupation of Palestine? The Icelandic director Anna Hildur joins the boys in the band all the way to the fateful final.

The Israeli filmmaker Shai Corneli Polak records the building of the 'security wall' through Palestinian territory at the village of Bil'in. The villagers protest mostly peacefully, while the Israeli army doesn't react peacefully. By now the Israeli High Court has ruled that the building of the wall was illegal.

The film returns to the origins of the creation of the State of Israel (from 1896 to 1948) and highlights the responsibility of the Western World.

During the 1990 World Cup, two young Palestinian boys are on a quest for “Maradona’s legs”; the last missing sticker that they need in order to complete their world cup album and win a free Atari.

Radi, an isolated mysterious guy, who lives in his old VW minivan, finds himself starting an interesting journey.

In a country that has been occupied for decades, a couple of puppeteers continue to bring a little joy from village to village. The children laugh, perhaps still unaware of the gravity of the situation. The central section is devoted to a visit to the refugee camp of Dheisheh.

The film tells the compelling and moving stories of two remarkable young women living in Gaza and the struggle of Gazans trying to maintain their humanity and humor while hoping to find some sense of normality in a world that is anything but normal.