Omar

"Omar" (2013 release from Palestine; 96 min.) brings the story of Omar and his friends Tarek and Amjad. As the movie opens, we see Omar climbing over the separation wall (diving Israel from the West bank) to see the girl of his dreams, Nadja. Tarek pushes Omar and Amjad to be more active in their fight against the Israelis, and at one point they shoot and kill an Israeli border guard, but it isn't long before Omar is apprehended by the Israeli police. Given the choice of being jailed for many years, or instead to be set free and lure Tarek into the hands of the Israelis, Omar chooses the latter. In a separate story line, we learn that Amjad also has his eyes on Nadja. Is Omar really going to snitch on his friends? Who will win Nadja's heart? To tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: first, when you get a Palestine movie in which there is conflict with the Israelis, you automatically expect that this will be a political movie. Yet it really isn't the case at all. Instead, this movie looks at the conflicts of being a reluctant informant, and the resulting mind games being played. Second, this is an equally compelling family drama, with two guys chasing the same girl, of course in the context of strict family traditions and even stricter religion. Third, The movie contains a number of great performances, including Adam Bakri in the title role and the beautiful Leem Lubany in the role of Nadja. Last but certainly not least, I never saw the end coming, and it frankly was a little bit of a shock.

This movie scored an Oscar nomination for Best Foreign Language Movie, which will be decided tomorrow. The category is pretty stacked this year, and I doubt that "Omar" will win. That doesn't take anything away from this movie, though, which I found compelling from start to finish. I saw the movie last weekend at the West End Cinema in Washington DC, and the early matinée showing where I saw it, was reasonably well attended. This movie certainly deserves to be seen (as are all the other Oscar nominees for Best Foreign Language Movie), be it in the theater or on DVD/Blu-ray. "Omar" is HIGHLY RECOMMENDED!

"Omar" is so topical in content and authentic in form that it feels as though it had been ripped straight from the morning's headlines. This Oscar-nominated Palestinian film may not be as "fair and balanced" in its depiction of the seemingly endless and intractable Mid East conflict as some might wish it to be, but, like all good social dramas, the movie is far more concerned with exploring the human condition than with scoring political points.

Omar (Adam Bakri) is a young Palestinian baker who, at great risk to himself, regularly scales the massive wall that runs through occupied Palestine to hang out with his friends, Tarek (Iyad Hoorani) and Amjad (Samer Bisharat), and to carry on a secret romance with his girlfriend, Nadia (Leem Lubany), who also happens to be Tarek's sister. The three young men are also active as "freedom fighters," dedicated to liberating their people from Israeli control. After Amjad shoots and kills an Israeli soldier, Omar is arrested and coerced into becoming a spy in exchange for his freedom. Against this backdrop of simmering social and ethnic unrest, the bonds of friendship are tested in ways that will surprise and move you.

Though the geographic, sectarian and boundary issues could be a bit more clearly defined for audiences less familiar with the area, the screenplay by Hany Abu-Assad finds its truth in its portrayal of what day-to-day life is like for the ordinary people who call that part of the world home. Omar and his buddies may be passionately partisan about their cause, but that doesn't mean they aren't complex, three- dimensional characters in their own right. For underneath all the outward bravado and righteous bluster, they are still just "boys" after all, with all the interests and concerns that all young men have who are embarking on this journey we call life - a journey made all the more arduous and challenging by the world in which they live.

Assad's direction is taut when it needs to be (particularly in the striking foot chases through the narrow streets and alleyways of the prison-like city) and observant and patient when that is what is called for.

All the actors are excellent, but special mention must be made of young Bakri, who, as the title character, runs the emotional gamut from explosive to sheepish without missing a beat, his sly, toothy grin standing in direct counterpoint to his steely gaze and serious mien. It is Bakri who largely cuts through the polemics and who makes the story one to which all of us can relate. Well worth seeing.

To start with, I want to admit that I might be biased, as this movie is a local movie, with local actors, and local financing. Therefore, my review could be affected by what is so called local patriotism.

Nevertheless, I think that this movie is the best movie that I've watched in a long while. This movie tells the story of the Palestinian-Israeli conflict from the Palestinian point of view in a way that no movie did before. Yet, this movie could apply to any weak side that is living under oppression, anywhere on earth, such that everyone that has a heart can empathize with the oppressed, that is symbolized by the hero Omar. In addition, this movie contains numerous elements that one looks for in a movie: it has action scenes, dramatic events of betrayal and honesty, a pure and naive love story, friendship, funny scenes, and above all, it makes the audience ask questions and think.

To conclude, this movie is a must watch as it tells a story in a moving manner (some people even cried at the end..). In addition, by watching it you'll be supporting the uprising of the Palestinian movie scene, that has many great talents.

I saw this film at the Ghent (Belgium) film festival 2013. I usually avoid films involving the Israel versus Palestine controversy, but this one looked different while reading the synopsis on the festival website. Central theme is the relationships between people on both sides of the fence, be it family, lovers, friends or schoolmates. The separation fence (border wall) was announced to play a visible role in the plot, a literally high obstacle to be crossed to maintain contact. Also, this film is completely produced at (and financed from) the Palestinian side of the border, something that does not happen very often, awaking interest in spite of the location.

Some negative remarks first. I had problems identifying myself with the main characters and their customs, where flirting, courting, proposing, engaging, and finally getting married seems a convoluted process. At least that is what we think when seeing it through our Western European eyes, where this works very differently. And such things are even more complicated in the middle of the conflict between Palestine and Israel. A very visible role in the plot has a huge wall that we see several times being crossed illegally, as an obstacle to surmount when visiting a woman you love on the other side. After reading the synopsis on the festival website, I deemed this wall a metaphorical role at first, but the underlying political conflict creeps in more and more when getting further in the story.

But there are also many positive things to say about the movie. These film makers get across perfectly, maybe precisely that being their most important achievement, how difficult it is to know for sure in such an environment who can be trusted. Who is on your side, and who is not? Everyone can be a traitor, either because of religious beliefs, bad experiences, blackmail, family secrets, physical pressure, or while relatives or loved ones are held hostage. Given these examples, one may state that not even someone you know from childhood, can be considered full-proof trustworthy material. And what about someone who was imprisoned for a while, but released seemingly before he did the allotted time behind bars? How can you prove you are not a mole, when everyone assumes otherwise??

All in all, as a finished feature film coming from a country we don't recognize as producing films that are worthy to be programmed in a film festival, this one certainly is notable and shows a promising future for these film makers. As of this writing, the film made a good head start for the audience award (2nd place, average score 4.43 out of 5). I deduce that my feeling of remote involvement tells more about me than about the film itself. But anyway, see for yourself as it may provide for some more insight in the underlying political and religious conflicts that seem unsolvable within the foreseeable future.

In a world according to Paradise Now director Hany Abu-Assad, death, murder and revolt is currently a right of passage to manhood and way of life in the West Bank. Hearts-pounding, sweat dripping, pulses racing; three friends and militants affiliated with the Aksa Martyrs Brigades find themselves organizing a sniper attack on an Israeli Military post that will find their friendships, loyalties and lives changed forever.

Omar is the name of the film and is also the name of our main protagonist (Adam Bakri) one of the three friends whose sensitivity, loyalty, passion for life, and love of the cause are unflinching. Omar is a Palestinian living in the West Bank who, like most, are subjected to an intolerable amount of injustice and mistreatment as anyone else currently living in the West Bank from the Israeli Defence Force. The location of the West Bank, has just as much if not more to say itself than the film in question, but for the sake of the flow of this review, let's not get into a discussion of history. Taut, riveting and desperate, Omar is a suspenseful film in constant pursuit of truth.

Omar is a freedom fighter, led by his childhood friend and best buddy Tarek (Iyad Hoorani), and joined by their younger, marshmallowy and goofy friend Amjad (Samer Bisharat). The three friends plan out a violent and extremely dangerous mission to help the Palestinian cause. Although their efforts are valiant, essentially, they become killers. Omar tells a story of one man's life in the grande scheme of things and in the on-going battle between Jews and Arabs for a Holy Land; a land who's soil is drenched with the bloody memories of the lives once lived.

Part high-tension chase film, part intricate prison/interrogation drama, Omar could easily be confused with a political-thriller that would and could be directed by Paul Greengrass (Captain Phillips); thanks to the film's effortless ability to share many of the same idealistic political views of its people, its military, its innocent and its guilty. Throughout the film, it seems that Omar is the only one in the group getting hassled, arrested and tortured, until, he mistakenly confesses about the sniper shooting to the officer in charge of him Rami (Waleed Zuaiter). As a Palestinian freedom fighter, Omar is reminded over and over again that there is nothing worse than collaborating with Jews, not even death. After facing countless attacks within the prison, being accused of treason and as collaborating with Jews, Omar's greatest challenge is to convince his peers, fellow patriots, the love of his life Nadia (Leem Lubany), as well as himself of the choices and actions he must make to clear his name and garner the trust that seems far from reach.

As the plot of the film progresses, Omar, a once simple baker working outside the West Bank, daydreaming of a Honeymoon with his girlfriend and hopeful wife Nadia, becomes a conspirator of each person around him and their elaborate plans against the opposition. Omar climbs the wall the divides his worlds so that he may exchange simple love letters with Nadia and they try to plan their future together, a future that soon becomes thwarted by a Defense Force that will do anything to get Tarek, even if it means crumbling Omar's world. The film quickly progresses to a spellbinding and exhausting flee of terror from authorities and so many questionable ideals which each side exhibits.

Filmmaker Abu-Assad, who was born in Nazareth, and is no stranger to the dangers of life in the West Bank, uses Omar and his fine skills as a director to catch up and keep pace with the athletic, constantly in-pursuit protagonist. Beaten, bruised, bloodied and broken, Omar represents a proud and very real population of Arab people. Between discreet close-up panning shots, to questionable editing and pacing, the film seems almost documentary-esque. Thankfully, Abu-Assad handles the film gracefully and unbiased, presenting the very real terrors endured by either side.

Omar then becomes a film that allows anyone, including audiences, to "believe the unbelievable", even if the final ending feels forced, and completely unexpected. Perhaps, that's the point though. Like any good hunter, the best way to lure one's prey, is to entice them with the promise of nourishment (in our case knowledge) without consequence. Omar teases us with this, and then quickly rips it away, giving us only confusion and questions unanswered. Only few things remain once the screen fades to black, and one of them is the reality of the people living through hardship and the far-fetched promise of change. The other promise Omar leaves us with is the promise of the power of love–whether that love be the love of a woman, the love of family, the power and love of friendship or love of country, the choice is up to you.