Critics say agreement could inadvertently justify political injustices
In the world of cinema, where storytelling intertwines with politics and culture, recent events in Cyprus have stirred a robust dialogue within the Cypriot film community.
An interstate agreement for the co-production of films between Cyprus and Israel, signed on February 29, has sparked consternation among filmmakers and activists alike.
The agreement, intended to foster collaboration and bolster the Israeli cinema industry, has drawn scrutiny from a significant portion of the Cypriot film community. Over 100 signatures and counting adorn a statement titled “No to the exploitation of cinema as an alibi for artwashing the genocide of Palestinians.”
The concept of “artwashing” lies at the heart of the controversy – the notion that cultural exchanges may inadvertently serve to obscure or justify political injustices. It also criticised their justification of supporting the agreement for the sake of ‘cinema development’, implying that they prioritise economic gains over ethical considerations.
They call for a nuanced examination of the ethical dimensions of cultural exchange in regions grappling with complex geopolitical tensions and power imbalances.
The bill was approved by a majority in the plenary session of the parliament with 25 votes in favour, 12 against, and three abstentions.
Akel MP Giorgos Loukaides called the debate on the bill “shameful at a time when Israel has been committing crimes against the Palestinian people for four months”. He also characterised as tragic that film co-production was being discussed instead of “Israel’s atrocities and the need for sanctions to be imposed”.
Parliamentarians from other parties defended the bill passing. Diko’s Nicolas Papadopoulos said the bill had nothing to do with current events in Israel.
Likewise independent MP Andreas Themistocleous argued that the discussion is about making movies, “not making grenades”, adding that foreign policy is not an exercise in charity and philanthropy, but rather an exercise of national interests.
The bill was introduced in 2018 by Israeli Prime Minister Benjamin Netanyahu and former Cypriot President Nikos Anastassiades and was ratified only a week after the inaugural Palestinian film festival held in Limassol.
Festival director and programme curator Jafra Abu Zoulouf envisioned the not-for-profit festival as a platform to showcase Palestinian culture and narratives, in hopes of fostering cross-cultural understanding and challenging prevailing stereotypes.
“In showing these films that delve into the daily life and experiences of Palestinians at this critical juncture, during a genocide done against them and amidst the sea of misinformation and censorship in mainstream media,” she said.
“I believe it is crucial to provoke questioning and challenge the ‘truths’ we’ve been fed and think we know. This aim is pivotal not only to combat the dehumanisation of Palestinians – a phenomenon all too common in the narratives of oppressed peoples – but also to ignite a broader questioning of established narratives.”
The festival offered free screenings in numerous venues and drew 600 attendees in the span of a week.
“Dare I say that many people who attended the screenings did so not only out of their love for cinema but also as a gesture of solidarity with the Palestinian people, even as a form of protest,” said Adonis Florides, festival coordinator.
“PIFF managed to shine a light and to bring forth those strong empowering voices of Palestinians that remind us again and again what it means to resist,” shared Belinda Papavasiliou, a volunteer at the festival.
Controversies surrounding film in the heat of geopolitical tensions between Israel and Palestine even made its way to one of Europe’s most renowned international film festivals, Berlinale.
At the festival’s awards ceremony, several filmmakers condemned Israel’s actions in Gaza, sparking allegations of antisemitism from German politicians.
Berlin’s Culture Minister Joe Chialo criticised the ceremony for what he described as “self-righteous anti-Israeli propaganda”. The festival organisers distanced themselves from these filmmakers’ statements, clarifying that they did not reflect the official stance of the Berlinale. However, they also affirmed the importance of allowing diverse opinions at cultural events.
During the gala, Berlinale’s managing director Mariette Rissenbeek addressed the plight of Israeli victims and urged Hamas to release all hostages while calling on Israel to minimise civilian casualties.
Regions around the world develop distinct cinematic styles and themes shaped by their unique cultural, historical and socio-political landscapes.
Historically, Palestinian cinema often reflects the lived experiences of Palestinians under occupation, exploring themes of displacement, resistance, and identity. Films from Palestine frequently serve as a platform for marginalised voices, shedding light on the human stories behind geopolitical conflicts.
Adonis Florides, PIFF coordinator expressed his excitement about sharing the film “Vibrations from Gaza”, by Rehab Nazzal, a short documentary that shows what life is like for deaf children in Gaza.
The children in the film share their experiences of living with the vibrations of drones overhead, which is one of the few things they can hear. “The film is powerful and moving, and it left the audience in complete silence, with many people crying long after it ended,” he said.
Israeli cinema also encompasses a wide spectrum of narratives, ranging from introspective reflections on Israeli society, the complexities of co-existence, to propaganda pieces aimed at shaping public perception both domestically and internationally.
Film possesses the potential to illuminate the experiences of marginalised communities, increase awareness surrounding social issues, and amplify the voices of often overlooked individuals.
It can also make moviegoers worldwide dress up in pink and go to cinemas throughout the entire Barbie movie cycle.
Given the inherent impact and power of film to shape public opinion and influence societal attitudes, should bills related to interstate co-production of film be approached with heightened sensitivity?
Does legislation pertaining to film need to be approached with a comprehensive understanding of the political and societal implications of filmmaking?
By doing so, can lawmakers then contribute to ensuring that the film sector serves as a catalyst for societal advancement, empowerment and cross-cultural dialogue?
Click here to change your cookie preferences