200 Meters

I didn't see the movie, but hearing the plot, resembled me a lot the ideas of Smuggling Hendrix: the border, the movement freedom across it, the help from a smuggler. That was a kind of comedy set in Cyprus, this in Palestine, but the original idea is in the former, and it also depicts a region with less known border problems, still present. I will try to watch also this movie as well to understand better if the rest of the plot has other (original) merits. Smuggling Hendrix is not a pretentious movie, but it treats the same yproblem with ironic and delicate approach. Was this noted by anyone, or does this movie give credits to the earlier one?

I heard heard good things about this film, but having a quick peek on IMDB to read the first user review giving it 1/10, I had my reservations.

These were quickly dispelled as I felt myself being taken into the life of Mustufa and his family (Mustufa is brilliantly acted by Ali Suliman)

The movie has wonderful cinematography, showing the harsh yet warm scenery beautifully, with tender music accompanying the scenes to pull heart stings when required, but not to over sensationalise it.

As someone with no skin in the game for either side, I thought it was an extremely fair and balanced portrayal of the struggles of Palestinian families living in and around the West Bank and travelling through checkpoints daily.

Whatever you think of the situation, I would look at this film with open eyes, and you will be pleasantly surprised.

After the film finished, I checked IMDB to see who had directed it, and was more than surprized to find it was also a feature film directorial debut from the writer Ameen Nayfeh.

Looking forward to more of her films!

There are other good Palestinian movies that tackle the Palestinian question and its impact on the everyday life of people in the occupied territories. Examples of this are: Omar, Salt in This Sea, Tel Aviv on Fire and Pomegranates and Myrrh.

What makes 200 Meters stand out is the ironic realization, visually rendered, that only 200 meters separate husband from his wife and kids. But in order for him to be with them, he has to cross the border to be in Israel. But to do so, he has to have a permit. This is a reality which Mustafa accepts, if grudgingly.

The road trip that ensues for Mustafa and several others like him in the West Bank, who need to cross the border illegally, is the focus of the movie. This is where the drama comes in and the tension builds up.

Ali Suliman anchors the film and he portrays his role as the desperate father superbly. There is a big surprise at the end, and the viewer has to judge what to make of it. But I think the point of the writer/filmmaker is to show that even people with sympathies for Israel want to learn more about the Palestinian narrative as an impartial observer (and perhaps offer a solution) as it affects the daily life of people living beyond the wall.

Watch this film not only to be entertained, which it does, but to be reminded that the Palestinian problem begs for a fair solution.

I am rating this at 9, although very rarely I have given such a high rating, and the reasons why I believe this film deserves a solid 9 is the fact that palestinian cinema and film industry has improved so much in the last few years, and Palestinian film makers have worked so hard for years to get some screen time, and now they're portraying the reality so vividly and using the real Palestinian narrative that's widely censored and silenced. The production is amazing, the actors are very talented and genuine, the music is so fitting and expressive of the scenes.

The fact that this is a reality in Palestine today is appalling, we are living in a world that still tolerates this in 2020.

I think such productions and stories are the ambassadors of this cause, and they are doing a good and talented job at it, they are telling a narrative that's parallel to the stereotype, and more powerful sometimes.

Well done the talented Ameen Nayfeh, and to Ms Odeh.

How important is a film's title in relation to its premise? That may seem like a strange question, but it's one that's surprisingly relevant where this Palestinian release is concerned. Writer-director Ameen Nayfeh's debut feature about a separated Palestinian family living on two sides of the dividing wall between Israel and the Occupied Territory - a metaphorically cavernous 200 meters apart - starts off as a domestic drama about the challenges of such a difficult lifestyle, one characterized by the dynamics of "so close yet so far," a theme seemingly reinforced by the picture's title. However, as quickly becomes apparent, the story turns into an unexpected (and eminently dangerous) long-distance road trip tale involving a desperate attempt by the family's father figure (Ali Suliman) to reunite with his relatives on the Israeli side of the border when an unforeseen tragedy occurs. Ordinarily this would be a generally manageable undertaking, but it's prohibited in this case by a legal technicality that prevents dad from leaving the Occupied Territory. While this narrative has a legitimate viability all its own, it nevertheless deviates widely from the picture's initial setup, taking viewers down a divergent path filled with an array of tangents unrelated to the principal storyline. It raises issues disparate from its assumed plot and introduces a plethora of characters who have nothing to do with the protagonist's kindreds. To its credit, the film presents a candid portrayal of the myriad difficulties of everyday life for those living under such tightly controlled circumstances, raising serious questions related to Israeli contentions regarding matters of democracy and equality, notions with undeniable merit. But, as all this unfolds, audiences can't help but wonder when the picture is going to get back to its original intent. Some of the characters' motivations in this story aren't always made as clear as they could be, either, especially for those who may be unfamiliar with the prevailing political and social conditions depicted in this film. And, ultimately, one might feel somewhat misled by all this, despite whatever noteworthy issues the film raises. "200 Meters" is by no means a bad film; it's just not the one that I (and probably others) expected to see when I began screening it. It's strange to think that something as simple as a title change might have worked wonders in making this work more impressive and satisfying.