IFFK: With the spotlight on Israel-Palestine conflict, Kerala sends a political message
Latin American films hold a significant place at the festival, with a curated package by Fernando Brenner consisting of five films from across the continent
Chief guest Nana Patekar and other dignitaries lit the ceremonial lamp. Photo: Joji AJ / IFFK
Filmmakers from Palestine and Israel are well-known to cinema enthusiasts in Kerala. The International Film Festival of Kerala (IFFK) has featured numerous outstanding films from the region, with the West Asian conflict as a central theme, across its various editions. Notable directors such as Amos Gitai, Mohammed Bakri, Michel Kleifi, Elia Suleiman, and Eran Riklis are familiar names to the IFFK audience in Kerala as many of their works are as familiar as Indian or Malayalam films.
The 28th edition of the festival features a dedicated selection of films that specifically address the Israel–Palestine conflict. This special package, titled “Decolonising the Mind”, includes six films that unequivocally oppose war and aggression, clearly expressing solidarity with the Palestinian cause. This anti-war package serves as a gesture of solidarity with the Palestinian cause while also providing insights into how master filmmakers perceive war, violence, and peace.
“This is our deliberate choice - this anti-colonisation films which hold profound relevance in today’s context of global conflicts, notably the ongoing struggle of the Palestinian people. We take pride in hosting this remarkable event that not only entertains but also educates and enlightens,” said Kerala chief minister Pinarayi Vijayan in his inaugural address at the festival.
Chief Minister Pinarayi Vijayan inaugurated the festival via video conferencing. Photo: Joji AJ / IFFK
The package kicks off with Shyam Benegal’s latest film, Mujib: The Making of a Nation (2023), followed by works such as Omar (2013) by Palestinian-Dutch director Hany Abu-Assad, Degrade (2015) by twin brothers Tarzan and Arab Nasser, Crescendo (2019) by Israeli director Dror Zahavi, Paths of Glory (1957) by Stanley Kubrick, The Thin Red Line (1998) by Terrence Malick, and The Great Dictator (1940) by Charlie Chaplin.
Israeli production
Israeli director Dror Zahavi’s 2019 film Crescendo was well received when it premiered in 2019.
In an historic Austrian chalet, young classical musicians from Israel and Palestine are coming together to rehearse for a peace concert, guided by their German maestro, Eduard Sporck.
The musicians have chosen this venue to distance themselves from the daily tensions of the Israeli-Palestinian conflict.
However, their practice sessions have not been without strain - Sporck attempted group therapy that spiralled into heated exchanges with accusations of “terrorist!” and “murderer!” Yet, as they perform Vivaldi, there is a noticeable sense of unity within the orchestra.
Even the top violinists, Palestinian Layla and Israeli Ron, who have engaged in numerous antagonistic exchanges, are gradually moving towards reconciliation. Amidst the building crescendo of the strings, Ron plays with closed eyes, and Layla shares a significant glance with him, signalling a positive shift in their relationship.
Crescendo explores the challenges faced by Layla (Sabrina Amali), a resident of the West Bank city of Qalqilya. During her journey to a Tel Aviv audition, Layla encounters a discourteous interrogation at a checkpoint from a female IDF service member who is puzzled by the presence of a violin case.
To what extent would someone go for their country’s freedom?
Palestinian question
How far would they go for love? In times of heightened tension, when the situation is challenging and people are constantly seeking an escape, whom can you truly trust? These are just a few of the questions explored in the 2013 movie Omar directed by Hany Abu Asad.
Another film included in this package is Degrade, directed by the twin brothers Arab and Tarzan Nasser, set in the “occupied Palestine territory”. Additionally, two of the greatest anti-war and anti-dictatorship films of all time, Chaplin’s The Great Dictator, and Stanley Kubrick’s Paths of Glory, are also scheduled for screening as part of this collection. Shyam Benegal’s biopic of Mujib Rahman is another film featured in this category.
“We have been to IFFI Goa this year and you know what the content of the festival was. An outright propaganda film that promotes bigotry, like Kerala Files, was the official entry there. So was a revivalist Malayalam film that glorifies Sabarimala deity and all (Malikappuram). It was so disheartening to see the right-wing gaining control there. But this Kerala festival is an antidote for it, I guess,” says Saravanan Balaji, a Tamil Nadu-based film student.
“I had heard that the regional government here is Communist and that’s why they are supporting the Palestine resistance and all, but I was quite surprised to see Christophe Sanuzzi, a known critic of Communist regimes, being awarded the highest honour,” exclaimed Mark Stevenson, a tourist from the United Kingdom who has made some time to watch a couple of movies this time.
“The IFFK is recognised for its steadfast political position that aligns with the ethos of the third world. This political identity was established when the competition section was introduced in the 19th edition, featuring entries exclusively from Afro-Asian and Latin American countries. In this regard, it functions as a competition representing the Third World,” says NP Sajeesh, a noted film critic and deputy director of the Kerala Chalachitra academy.
Kenyan great
This time, the festival honoured Kenyan filmmaker Wanuri Kahiu with the “Spirit of Cinema” award for her relentless fight for freedom of expression. Instituted in 2021 to acknowledge filmmakers whose dedication to cinema remains unwavering even in challenging circumstances, and who wield the medium as a tool in the fight against societal injustices, the inaugural recipient of the award was Kurdish filmmaker Lisa Calan. In the previous year, the honour went to Iranian filmmaker and women’s rights activist Mahnaz Mohammadi.
Kenyan director Wanuri Kahiu was awarded the spirit of film award (Presented by Arya Rajendran, Mayor of Thiruvananthapuram). Photo: Joji AJ / IFFK
Kahiu is the creator of “Afrobubblegum”, a collective with the goal of challenging prevailing stereotypes about Africa and fostering a fresh perspective on the continent. Her film, Rafiki, achieved the historic feat of becoming the first Kenyan film chosen for the Cannes Film Festival. Despite being prohibited by her country’s conservative government due to its lesbian romance theme, the film was showcased at the IFFK in 2018.
Latin American films hold a significant place in this year’s festival, with a curated package by Fernando Brenner consisting of five films from across the southern American continent. These films predominantly explore themes of resistance.
“This year’s country focus is on Cuba, and it holds particular significance given the country’s longstanding fight against imperialist forces,” Sajeesh tells The Federal.
In this edition of the festival, a total of 175 films from 81 countries are being showcased. The majority of these revolve around the human fighting spirit, the yearning for freedom, and resistance against oppression. This dominant theme imbues the festival with a somewhat Left-leaning perspective.