The pace of the work is relentless, transitioning from one rhythm to another, one pattern to the next, one dancer leading switched out for another. The dancers show no signs of listening for cues. Instead, they appear telepathically connected, pivoting and exchanging material with uncanny precision. Improvisational impulses are woven into a tightly organized, ever-shifting and unpredictable structure.Read more
In this work, Dar demonstrates that good dance may turn its head backward, like Orpheus, but above all it surrenders itself to the present in every lifting of a dancer’s leg and every tossing of her head. It recognizes that “the pure present is the invisible progress of the past gnawing into the future. The truth is that every sensation is already memory,” as philosopher Henri Bergson wrote.Read more
THE LAND IS A BODY BEING DISMEMBERED
HOLDING THE WEIGHT OF ORIGINAL SINS THAT’VE MUTATED THROUGHOUT GENERATIONS
EACH ITERATION REFINING ITS APPARATUS AROUND THOSE STILL LIVINGRead more
Even cities need dramaturgy, and of all the cities in the world, I believe Jaffa has the first claim to receiving devoted dramaturgical care. Among all the commentators, thinkers, journalists, influencers, documentary filmmakers, project entrepreneurs, investors, green investors and their opponents, there should be at least one dramaturg, for God’s sake.Read more
Rewatching Ram Loevy’s “Sakhnin, My Life” brought back three moments I experienced alongside Arab Israeli creators and made me understand something that I spent years allowing myself not to fully feel.Read more
To your credit, Ahmad Habibi,
you figured it out way back then.
By ’67, you already knew that between the river and the sea, the best thing to be –
is Jewish.
And democratic.
But Jewish first.
Not Jewish – no democracy.Read more
Throughout the work, if we peel away the aesthetic shell and strip away the period style, what remains is the exposed core: the words. When one listens to the voices of the characters, to sentences saturated with sorrow and ancient pain, a chilling phenomenon occurs: historical distance dissolves. Every sound, every cry, every accusation spoken in 1969 could just as easily be spoken today, word for word, in 2026.Read more
This is also the film’s deepest cinematic argument. The camera, even when it claims objectivity, always chooses. Always arranges. Always decides what enters the frame and what remains outside it. And if that is so, what is the difference between documentary and fiction?Read more