Gilad Atzmon (Hebrew: גלעד עצמון, born June 9, 1963) is a jazz musician, author and anti-Zionist activist who was born in Israel and currently lives in London.The London Palestinian Film Festival opened this year with Elia Suleiman’s latest feature “The Time that Remains” (105min), a monumental reflective and poetic take on Palestine since 1948.
"Anti-Semite is an empty signifier, no one actually can be an Anti-Semite and this includes me of course. In short, you are either a racist - which I am not - or have an ideological disagreement with Zionism... which I have."He was born a secular Israeli Jew in Tel Aviv, and trained at the Rubin Academy of Music in Jerusalem. His service in the Israeli military convinced him Israel had become a militarized state controlled by religious extremists. In 1994, Atzmon emigrated from Israel to London, where he studied philosophy. Atzmon is an anti-Zionist who critiques Jewish identity issues and supports the Palestinian Right of Return as well as the establishment of a single state in Israel/Palestine. He is a signatory to the "Palestinians are the Priority Petition" which states “full and unconditional support of the Palestinian people is a condition sine qua non for activists to adopt.
Like Baroud, Suleiman juxtaposes the Palestinian journey from heaven to hell with the Zionist phantasmic counter move from ‘hell’ to ‘heaven’. The devastating images of Palestinian torture and dispossession are scattered with scenes of cheerful Israeli arrogance, looting and sadism. This counter flow of the two people is rather crucial to the understanding of the conflict. As much as Palestinian expulsion is concrete and deeply imbued in the consciousness of every Palestinian, the Jewish imaginary ‘home coming’ journey from ‘hostile Diaspora hell’ to the ‘Zionist Eden’ has proved to be dubious and unforgiving for the Jews.
It is obvious that the Israelis have never managed to make the holy land into their ‘homeland’. They are alienated from its nature, they poisoned the soil and polluted their rivers, they ruined the landscape shredding it with gigantic concrete walls and monstrous urban settlements but worse than that they eradicated the indigenous civilization of Palestine or at least this is what they tried to do. In fact this unique form of Israeli detachment is where Suleiman launches his film.
With Suleiman himself seated silently in the back of a brand new limo we watch an Israeli chauffeur prepare himself for a journey. Using his radio communication system the driver reports to his station “do not try to contact me, I am about to start a long ride…” Within a few seconds into the journey a storm breaks out, lightning, thunder and rain is pouring. Our Israeli chauffeur is totally disorientated, he can not see, he doesn’t know where he is, the fuel is running out. It is not long before he stops his car just to find out that the radio is dead. “What am I doing here? Where am I? How did I get here in the first place?” He cries out. The Israeli driver is stranded in the middle of the night out of nowhere. He is isolated with no radio or fuel in an unknown land that was supposed to be his promised one. He is lonely but not alone. He has a silent Palestinian passenger sitting comfortably in the back seat staring at him.
The allegory is pretty obvious. As much as the Zionists wanted to believe that their ‘home coming’ project was a journey from the ‘Diaspora hell’ into a ‘promised shelter’, they are now becoming prisoners of their lethal unethical aspiration. Soaked with power, loaded with American weaponry they are driving a brand new Hummer in the dark, crossing an alien and hostile land, they do not know where they are going, their fuel is about to run out at any minute, they do not know why they do it. However, one thing is certain, they have a silent Palestinian passenger sitting comfortably in their back seat. The latter like the rest of us is watching them in their downfall.
Suleiman offers a critical reading of the Palestinian society. He touches some of the most painful subjects, he looks at the collaborators, he confronts the cowardice, he touches the manic depressive drive within Arabic culture and yet, in spite of all that, he has hope in him. Miraculously enough, Palestine seems to prevail.
A scene from Suleiman's Divine Intervention
In Suleiman’s cinematic chronicle we follow a reportage of an organised criminal army fighting scattered civilian resistance, we see IDF soldiers looting, terrorising and torturing the civilian population, we see the proud indigenous becoming a defeated minority on their own land, we watch Palestinian children singing Zionist songs at school to a cheerful Israeli minister. We then witness IDF soldiers shooting these kids as they become resilient stone throwing teenagers. As the story evolves Suleiman takes us to contemporary Ramallah where we see Palestinians living somehow proudly celebrating their Arab culture.
While in Ramallah we witness a thought provoking scene that throws new light over the balance of power between the Israeli and the Palestinian. As an Israeli Merkava tank invades the whole of the screen, we notice a Palestinian youngster leaving his front door on his way to empty some rubbish. The Israeli tank stops. Its barrel chases the youngster’ head as he walk towards the dustbin. This is no doubt a devastating image. However, on his way back to his front door the Palestinian lad receives a mobile call from a friend. The youngster stays in the street joyfully chatting to his friend. All that time the Merkava’s barrel follows his move in something that rapidly transforms into a comical parody on Israeli power. All along, the young Palestinian doesn’t take any notice of the large calibre barrel that chases his head. It seems as if the Israeli power of deterrence is a matter for historians.
Suleiman’s message is clear. In order to maintain the Jewish national project, Israel may have to attach a tank to every Palestinian. But it goes further. While the Palestinian young man is up and about walking freely enjoying the Mediterranean sun, four Israeli soldiers, probably about the same age, are locked inside a Merkava tank. The Israelis are stranded by a merciless and yet futile ideology that leads nowhere. They are enslaved to a Palestinian lad who doesn’t even bother to look at them. The Israeli soldiers cannot see the daylight. They see life through their military periscope. The Merkava tank can be interpreted as a metaphor of the Israeli ghetto mentality. However, as far as Israel is concerned, the Merkava tank is not just a metaphor, it is not mere symbolism, it is actually the true reality of the Jewish state and the Jewish political being. The Israelis are locking themselves behind separation walls and within tanks and bunkers.
While in his previous film a victory was a matter for Divine Intervention, in the current film the fog clears away. The Palestinians seem to win just because the Israelis are doomed to lose. The Israelis are victims of their own relentless brutality. The more sinister they are, the more tormented they become by the fear they inflict on themselves. The Israeli paranoia is a matter of projection. They think to themselves, ‘if others are as brutal as we happen to be, we must be in real trouble.’
Symbolically, Suleiman is from Nazareth something that may remind some of us that someone else from the same town presented a very similar criticism of Jewish tribalism just two thousand years ago. Israel is indeed locked in exactly the same vicious circle as its imaginary forefathers. The more brutal it becomes, the more terrorised it gets by its own viciousness. Jesus saw it all. Love your neighbour was his solution. Turn your other cheek he maintained. The Israeli failure to grasp that compassion is the way forward is the true meaning of the Jewish tragedy. We are dealing here with an unfolding chronicle of an imminent disaster. On the other hand, in Suleiman's depiction of Palestinian recent history, it is the Palestinians’ forgiveness that shines.
Suleiman, may as well be the ultimate master of cinematic poetic symbolism. He manages to deliver the most devastating message through music and silence. He manages to convey the deepest philosophical idea through a little piece of choreography. As much as film is largely a visual art form, in Suleiman’s work, the ear has its primacy. Music, sounds and rhythms communicate where the eye fails. The sound is the bond with the past. It is the ear that transcends us to the realm of the universal. Through the ear rather than the eye we reconnect with our past, present and future.
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