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August 15, 2013 - Image 51

Resource type:
Text
Publication:
The Detroit Jewish News, 2013-08-15

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growing in technical skill and self-
assurance at the same time that he
grapples with the difficulty of main-
taining a strategy of nonviolent pro-
test when repeatedly met with force.
It is this last dilemma that gives the
film much of its power as one by one,
five cameras belonging to Burnat are
destroyed — at least two that were
literally shot out of his hands.
Davidi, the more experienced film-
maker, seems almost indifferent to
the film's reception in some portions
of the Israeli political spectrum.
"I worry not about the right —
they won't like the film no matter
what:' he says. "I'm afraid of the
cynical mainstream. [Some] label
the film, 'Oh, it's another Palestinian
movie: And that closes off discussion.
We want this film to open the discus-
sion, not end it."
Understandably, even in the calm
of the hotel lobby, Burnat is rather
dismissive of an aesthetic reading of 5
Broken Cameras.
"It's life, not a film:' he says qui-
etly. "Life in the last two years has
been very difficult in our village. I'm
scared for the children. The soldiers
come at night, and I go out to film. I
was hit by soldiers, shot at; my cam-
era was smashed by a bullet. My wife
wanted me to stop and find another
job, have a normal life. But ours is
not a normal life:'
When he speaks about filming,
Burnat doesn't sound like most film-
makers either.
"I saw the camera as my friend, my
protector; he says. "It is a very strong
witness. I have a daily responsibility
to keep doing what I'm doing:'
The situation in Bil'in contributed
to his sense of necessity, of shooting
footage for more the artistic exercise.
"It's a very small village:' Burnat
says. "I was the only one with a cam-
era. When the army came, people
would call me, 'You have to come!'
With the camera there, people feel
they are more protected:'
Over the course of the film's
90 minutes, and six years, we see
Burnat's family grow; Gibreel grows
from toddler to boy, and his older

Emad Burnat

brothers begin the path through ado-
lescence. We also experience the ebb
and flow of the conflict, a pounding
counterpoint to the benign moments
of family life.
Talking about the virtues of spend-
ing a long time on a documentary,
Davidi touches on one of the film's
great strengths.
"When Emad is growing as a
father, this is his challenge: to be cre-
ative and productive but also healing
and nurturing:' the Israeli filmmaker
says. "Anger can draw you down. [On
the West Bank], if you let your anger
run away, you can get hurt or worse:'
Davidi readily admits that as a
peace activist as well as a filmmaker,
he finds controlling his emotions dif-
ficult. "I have to find a way to deal
with this:' he says. "If I let anger
guide me, I'm less productive:'
Perhaps even more difficult was
conveying that message to his chil-
dren and friends, often in the heat of
confrontations with Israeli soldiers.
"We have to resist, but also to like
the beautiful moments:' he says.
"We have to live our life, to take
those beautiful moments when they
come. They give us a good feeling
that something can change. We try
to always have those moments, to
give that feeling to my boys, to think
about their future:'
5 Broken Cameras is a film poised
on the brink of despair, on the brink
— but not inside the abyss.
Appropriately, it is Gibreel's warm
smile and emerging personality that
give both the director and the film
some hope. Burnat says at the end of
the movie that he films "to heal:'
5 Broken Cameras presents vivid
witness to the power of the image for
that kind of healing. ❑

Detroit Public Television-
Channel 56 airs the POV
documentary 5 Broken
Cameras at 10 p.m. Monday,
Aug. 26.

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