Annemarie Jacir

Year 1936. As villages across Palestine rise against British colonial rule, Yusuf drifts between his rural home and the restless energy of Jerusalem, longing for a future beyond the growing unrest. But history is relentless. With rising numbers of Jewish immigrants escaping antisemitism in Europe and some arriving with nefarious Zionist-colonial ambitions, and the Palestinian population uniting in the largest and longest uprising against Britain’s 30-year dominion, all sides spiral towards inevitable collision in a decisive moment for the British Empire and the future of the entire region.

After years abroad in Italy, Shadi returns to his native Nazareth. But this is no spectacular homecoming. He's back somewhat begrudgingly to honour his "wajib" (or duty) to hand out invitations to his sister's wedding with his father. The simmering tension between the two — who are often stuck in a car, more often than not in traffic — builds, exposing the sometimes-comic chasms that exist between men who live in different worlds but share an unshakable bond.

Born in Brooklyn to Palestinian refugee parents, Soraya decides to journey to the country of her ancestry when she discovers that her grandfather's savings have been frozen in a Jaffa bank account since his 1948 exile. However, she soon finds that her simple plan is a complicated undertaking — one that takes her further from her comfort zone than she'd imagined.

We choose to build with one another in a shoulder to shoulder struggle against state-sanctioned violence. A violence that is manifest in the speed of bullets and batons and tear gas that pierce our bodies. One that is latent in the edifice of law and concrete that work together to, physically and figuratively, cage us. We choose to join one another in resistance not because our struggles are the same but because we each struggle against the formidable forces of structural racism and the carceral and lethal technologies deployed to maintain them. This video intends to interrupt that process – to assert our humanity – and to stand together in an affirmation of life and a commitment to resistance. From Ferguson to Gaza, from Baltimore to Jerusalem, from Charleston to Bethlehem, we will be free.

In “Spaces #3”, 7 internationally acclaimed directors shot, after commissioning by the Thessaloniki International Film Festival, a short film at home, making their own timely comment on the new reality that we live in. The project is inspired by the book “Species of Spaces” by the French novelist, filmmaker, documentalist, and essayist, Georges Perec and the days of quarantine. The idea is to create a film at home, using the environment, the people or the animals in that space. The only outdoor areas that may be used are outdoor living spaces, such as the terrace, the garden, the balcony and the stairwell. “Disconnect” is Annemarie Jacir’s submission.

Tarek and his mother Ghaydaa number among the tens of thousands of refugees crossing the border from Palestine, having been separated from Tarek's father amidst the chaos of the Six Day War. They ultimately settle at the Harir refugee camp, a makeshift home for a new generation displaced by conflict. Tarek dreams of being reunited with his father, and struggles to adapt to a new life far away from all he previously knew.

Year 1936. As villages across Palestine rise against British colonial rule, Yusuf drifts between his rural home and the restless energy of Jerusalem, longing for a future beyond the growing unrest. But history is relentless. With rising numbers of Jewish immigrants escaping antisemitism in Europe and some arriving with nefarious Zionist-colonial ambitions, and the Palestinian population uniting in the largest and longest uprising against Britain’s 30-year dominion, all sides spiral towards inevitable collision in a decisive moment for the British Empire and the future of the entire region.

Year 1936. As villages across Palestine rise against British colonial rule, Yusuf drifts between his rural home and the restless energy of Jerusalem, longing for a future beyond the growing unrest. But history is relentless. With rising numbers of Jewish immigrants escaping antisemitism in Europe and some arriving with nefarious Zionist-colonial ambitions, and the Palestinian population uniting in the largest and longest uprising against Britain’s 30-year dominion, all sides spiral towards inevitable collision in a decisive moment for the British Empire and the future of the entire region.

After years abroad in Italy, Shadi returns to his native Nazareth. But this is no spectacular homecoming. He's back somewhat begrudgingly to honour his "wajib" (or duty) to hand out invitations to his sister's wedding with his father. The simmering tension between the two — who are often stuck in a car, more often than not in traffic — builds, exposing the sometimes-comic chasms that exist between men who live in different worlds but share an unshakable bond.

After years abroad in Italy, Shadi returns to his native Nazareth. But this is no spectacular homecoming. He's back somewhat begrudgingly to honour his "wajib" (or duty) to hand out invitations to his sister's wedding with his father. The simmering tension between the two — who are often stuck in a car, more often than not in traffic — builds, exposing the sometimes-comic chasms that exist between men who live in different worlds but share an unshakable bond.

Born in Brooklyn to Palestinian refugee parents, Soraya decides to journey to the country of her ancestry when she discovers that her grandfather's savings have been frozen in a Jaffa bank account since his 1948 exile. However, she soon finds that her simple plan is a complicated undertaking — one that takes her further from her comfort zone than she'd imagined.

Born in Brooklyn to Palestinian refugee parents, Soraya decides to journey to the country of her ancestry when she discovers that her grandfather's savings have been frozen in a Jaffa bank account since his 1948 exile. However, she soon finds that her simple plan is a complicated undertaking — one that takes her further from her comfort zone than she'd imagined.

In “Spaces #3”, 7 internationally acclaimed directors shot, after commissioning by the Thessaloniki International Film Festival, a short film at home, making their own timely comment on the new reality that we live in. The project is inspired by the book “Species of Spaces” by the French novelist, filmmaker, documentalist, and essayist, Georges Perec and the days of quarantine. The idea is to create a film at home, using the environment, the people or the animals in that space. The only outdoor areas that may be used are outdoor living spaces, such as the terrace, the garden, the balcony and the stairwell. “Disconnect” is Annemarie Jacir’s submission.

Tarek and his mother Ghaydaa number among the tens of thousands of refugees crossing the border from Palestine, having been separated from Tarek's father amidst the chaos of the Six Day War. They ultimately settle at the Harir refugee camp, a makeshift home for a new generation displaced by conflict. Tarek dreams of being reunited with his father, and struggles to adapt to a new life far away from all he previously knew.

Tarek and his mother Ghaydaa number among the tens of thousands of refugees crossing the border from Palestine, having been separated from Tarek's father amidst the chaos of the Six Day War. They ultimately settle at the Harir refugee camp, a makeshift home for a new generation displaced by conflict. Tarek dreams of being reunited with his father, and struggles to adapt to a new life far away from all he previously knew.

A story about nostalgia, loneliness, and the absence of love. Haneen is an old woman surviving within the memories of her home, struggling between slow monotony and her passion to rediscover life.

Ruwaysched is a no man's land at the border. The last village in Jordan before Iraq... I went there without a real scenario. I was looking for a story for my film for a couple of days until Anne-Marie, the director of photography, played a song for me from an Iraqi-Palestinian band while our car stalled at the Iraqi border. (Nassim Amaouche)

Ruwaysched is a no man's land at the border. The last village in Jordan before Iraq... I went there without a real scenario. I was looking for a story for my film for a couple of days until Anne-Marie, the director of photography, played a song for me from an Iraqi-Palestinian band while our car stalled at the Iraqi border. (Nassim Amaouche)

Commissioned by the Locarno Film Festival for its 75th anniversary, 11 international filmmakers were invited to create a ‘Postcard from the Future’ from their respective countries. Annemarie Jacir’s entry, From Palestine with Love, depicts in one potent shot a concrete barrier wall falling down to reveal a tranquil beach with waves crashing softly at the shore and a child playing in the sand.

The road from Jerusalem to Ramallah.

The road from Jerusalem to Ramallah.

A Palestinian-American teenager hooks up with a disaffected youth and they set out to clean up the town. This hilarious coming-of-age tale with a Western flavor carries a bittersweet, political edge. Director Annemarie Jacir's first film. Set in Texas.

A Palestinian-American teenager hooks up with a disaffected youth and they set out to clean up the town. This hilarious coming-of-age tale with a Western flavor carries a bittersweet, political edge. Director Annemarie Jacir's first film. Set in Texas.

Occupied Palestine: A serene landscape now pockmarked by military checkpoints. When a Palestinian film crew decides to avert a closed checkpoint by taking a remote side road, the political landscape unravels, and the passengers are slowly taken apart by the mundane brutality of military occupation.

Occupied Palestine: A serene landscape now pockmarked by military checkpoints. When a Palestinian film crew decides to avert a closed checkpoint by taking a remote side road, the political landscape unravels, and the passengers are slowly taken apart by the mundane brutality of military occupation.

Occupied Palestine: A serene landscape now pockmarked by military checkpoints. When a Palestinian film crew decides to avert a closed checkpoint by taking a remote side road, the political landscape unravels, and the passengers are slowly taken apart by the mundane brutality of military occupation.

An architectural exploration of Columbia University in New York, where buildings only reflect each other, space is restricted, and objects concealed or only partially revealed. Small, hidden imperfections. Set against a montage of real phone messages received by Columbia University faculty, the viewer's imagination contributes to this portrait reflecting an atmosphere of American college campuses today.

An architectural exploration of Columbia University in New York, where buildings only reflect each other, space is restricted, and objects concealed or only partially revealed. Small, hidden imperfections. Set against a montage of real phone messages received by Columbia University faculty, the viewer's imagination contributes to this portrait reflecting an atmosphere of American college campuses today.

One of 13 short films produced by the Palestinian Filmmakers’ Collective in the omnibus collection Palestine, Summer 2006.

Traces the five-minute walk that Iyad Hallaq, a disabled boy, would take from his family’s home to the special needs institute where he attended class — the same route upon which he would be senselessly killed by a sniper.