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Two films exploring modern and historic Palestinian experiences moved audiences at Istanbul’s Bosphorus Film Festival, as filmmakers and actors highlighted how art continues to safeguard memory and call for justice.
At this year’s festival, The Voice of Hind Rajab and Palestine 36 drew powerful links between a child’s final plea during the current war in Gaza and the long-overlooked uprising of 1936 against British rule. Each film approached the Palestinian story from a different era, yet both invited viewers to reflect on loss, resilience and the effort to keep lived truths alive.
The Voice of Hind Rajab focuses on the last phone call of a 5-year-old girl trapped in a car in northern Gaza, surrounded by the bodies of her family and under Israeli fire. Built entirely around the real audio recordings of her calls to emergency responders, the film avoids showing her face in order to keep the focus on her voice, which continued to echo in the minds of audiences.
Producer Sawsan Asfari said films had become essential tools for Palestinians to inform the world about the tragedies unfolding in their homeland. She noted that the editing process became emotionally overwhelming because she repeatedly needed to pause the footage and step away before continuing.
Actor Motaz Malhees, who portrays the volunteer who first answers Hind’s call, described feeling a heavy responsibility when he agreed to take part. He said the most difficult moments came when he listened to the real recordings and spoke directly with the volunteer involved in the actual event, which made the story feel painfully immediate.
Jordanian-Palestinian actress Saja Kilani said she regarded her role as a duty both as an artist and as a Palestinian, adding that the story offered lessons about courage and collective strength. She believed that the film carried a message of hope, which she described as “a force” that requires continuous effort. The film premiered in Venice, where it won the Grand Jury Prize and was met with an exceptionally long standing ovation.
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While the first film confronts the realities of the present, Palestine 36 revisits the uprising of 1936, which shaped the early roots of the Palestinian cause. After years of preparation, the project was partly forced to relocate filming to Jordan due to the current conflict, before eventually returning to Palestine.
Asfari said the film stands out for presenting a richly documented portrait of Palestinian society under British rule, portraying universities, institutions and strong communities to counter claims that the land had been empty. She noted that the film offers a historical narrative that reveals how early decisions shaped the struggles of today.
The film, directed by Annemarie Jacir, premiered in Toronto to a lengthy ovation and is being submitted as Palestine’s candidate for the Academy Awards. Irish actor Liam Cunningham, who plays a British officer, said the story showed how political decisions taken during the mandate era contributed to the suffering Palestinians face today. He drew a personal connection by reflecting on the British role in Ireland and said this helped him understand how deeply people can feel tied to their land.
Palestinian actor Saleh Bakri said his role as a dockworker under British rule felt relevant to ongoing experiences, adding that creating art during the war in Gaza felt like a small form of victory. He stressed that Palestinian stories are still misrepresented or silenced in both Western and some Arab media, and said the film aimed to push back against these distortions.
Asfari said Palestinian filmmakers face significant challenges in securing funding and distribution, with many distributors reluctant to take on their work. Yet she described storytelling as a form of resistance that helps preserve truth.
Kilani said she hoped audiences would “really listen to the voice of Hind, and know that it stands for more than just Hind,” noting that her story reflects many others. She said the sense of unity felt during the production reminded the cast and crew that they shared one collective purpose.
Cunningham said artists had always played a central role in standing up for human justice. He encouraged audiences to speak out, adding, “Get out on the street. Speak to their politicians. Speak to the press. Call out the lies. Call out the Hasbara. Fight for peace and justice for the men, women and children of Palestine.”
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