Omar

In places like the West Bank truth is the first casualty. This fictional tale takes real life tensions and offers very believable characters to make that point.

The 3 friends (Omar, Tarek & Amjad) plus the sister Nadia are constantly kept off balance by the political tensions that come from living in Palestine.

The director manages to add just enough warmth and naturalness to the various story loops to keep us on side with the lead characters.

The Israeli lead protagonist (Rami) has clearly read Machievelli's the Prince. He uses half truth, insinuation and educated guesses to rattle Omar and his friends.

Just when you think you know what is going to happen it all changes. This is a great movie. I saw it at a film festival but I hope it goes on to wider release.

If the saga of Omar were a wine, it would have to be described as "Shakespearian, with notes of Dante, Orwell, Golding, and Sartre." Omar is a basically decent, seemingly uncomplicated young bakery worker who is inexorably drawn into the violent political warfare of the West Bank through his love for a girl, his increasingly radicalized circle of friends from childhood, and Israeli injustice. Right up to its unexpected, yet expectable, ending Omar is more victim than protagonist.

Clearly anti-Israeli in tone, the film explores the many reasons why Palestinians maintain an abiding antagonism toward Israel and Israelis. A driving metaphor in the film is the 25 foot high wall that Omar scales regularly to visit Nadia, his intended. Although The Wall was ostensibly designed to separate the Jewish West Bank settlements from Palestinians, it even more effectively separates Palestinian towns, families, and friends from one another--and from their water supplies in many places. To visit a neighboring town along is course has often become virtually impossible for having to detour long distances around the wall's tortuous path and passing through multiple checkpoints. Similarly, the Israeli military and police strive to divide and isolate individuals and groups psychologically just as the wall does physically. It's a classic use of divide-and-conquer strategy, which is one of the film's principal plot threads. Whatever your views of the Israel-Palestine situation, this thoroughly absorbing film will challenge them.

"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.

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.

Though it has it's occasional flaws (some overstatement) this is generally a terrific political thriller.

A young Palestinian radical is put through the emotional, moral and physical wringer after being blackmailed into becoming an informer (or at least professing to) for the Israelis, following an arrest that could put him in jail for life. While Abu-Assad's sympathies clearly lie with the Palestinians, his characters and situations are much more complex and human than good guys and bad guys. He sees the damage that being in a constant state of war and occupation does to both sides.

Beyond that, this is not a 'political' film first. It's complex web of betrayal, love, fear, bravery, and paranoia could be anywhere two sides are facing off in a morally and politically complex situation, especially where one side is a guerrilla uprising, the other an established government. It could be Ireland and the IRA, or South Africa in the more militant days of the ANC. The beauty and terror of Abu-Assad's film is that it's about people not ideology. And the reality that people on both sides are capable of great good and great evil, often for reasons personal as much as political. I happened to see this within days of the also critically acclaimed "Bethlehem" which tells a remarkably similar tale, but from an Israeli point of view. Seeing both heightened the power of each -- for where they overlapped and where they differed. I'd recommend seeing both to anyone interested in good, human thrillers and who is interested in examining the middle east conflict in more than simple 'right and wrong' terms.