Omar

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.

"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.

"The Israeli-Palestinian conflict has been a tragedy, a clash between one very powerful, very convincing, very painful claim over this land and another no less powerful, no less convincing claim." Amos Oz

It's not easy to fit the story of Romeo and Juliet into a thriller about the Arab-Israeli conflict, but filmmaker Hany Abu-Assad does it with care and believability. So good is he in that balancing act that the notoriously endless national struggle is almost overshadowed by the challenging love Omar (Adam Bakri) has for Nadja (Leem Lubany).

Palestinian Omar, an impassioned freedom fighter in a street gang, becomes ensnared in a convoluted plot as an informant after being tricked into admitting his guilt by association for an Israeli's murder. The major theme is betrayal, found everywhere, informing every life.

Scaling the giant separation wall running through occupied Palestine to visit Nadja, however, is less scary than the torture Israelis inflict on him and the betrayal they demand. How he will free himself when he is caught in a covert action is the thriller part of the story.

Taking the pretzel plot one step further is the trickery of getting Omar to be an informant and the torturous path he must take as the tries to play both sides. Indeed, moments occur when the audience may not be sure which side Omar is on as he fights for his life and his love. No matter, family and nationalism will be major players in his fate.

The film is a powerful screed against the tactics and dominance of Israelis and a simple Shakespearean-like tale of loyalty, love, and jealousy. With the exception of Waleed Zuaiter as Agent Rami, because the actors are new to acting, they bring naturalism to the all-too-real conflict.

The narrow alleys through which Omar races aptly represent the dangerous nature of the Arab-Israeli conflict. Neither Nablus nor Nazareth is filmed in any glamorous way. With the impressive claustrophobic compositions and sets, outside and inside, the director has even more skillfully shown through his star-crossed lovers that this war in not over for soldiers or lovers anytime soon:

"I believe that in the long run, separation between Israel and the Palestinians is the best solution for resolving the Israeli-Palestinian conflict." Yitzhak Rabin

"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!