Palestine 36
Heartbreaking and infuriating, with echoes of issues that still haunt modern society, Palestine 36 depicts British colonialism in the land of Palestine, the cruelty they imposed, and the rising conflict between Palestinian Arabs and Jews. As the title suggests, Annemarie Jacir’s feature begins in 1936, starting remarkably simple, following the everyday domestic lives of different Palestinians, from Yusuf and his small neighbourhood – which includes his brother and ageing father – to his neighbour Rabab, whom he is smitten with, her parents and her daughter, and a Christian priest, Father Bolous, and his son. There’s also the journalistic couple Amir and Khuloud – the latter writing under a male pseudonym. As the events of the film unfold, the lives of these people intersect as they work together to rebel, criticise and survive.
Jacir does an impeccable job of writing compelling and grounded characters, creating intriguing individual arcs and development set against a wider and more complex political backdrop. She tackles an abundance of themes – racial and religious politics, class and privilege, feminism, and the importance of journalism in both uncovering history and shaping perception of an event. These bits and pieces of in-depth commentary are well embedded in the stories of the Palestinian characters. Every person showcased on screen is rich in personality and nuance, regardless of the time afforded to them. Yusuf’s journey is a slow-burning arc, and Karim Daoud Anaya’s natural charm and charisma captivate the audience, keeping them invested throughout. Although from a small farming village, Yusuf starts from a position of privilege with his work chauffeuring in Jerusalem for Amir and his Western lifestyle. He later becomes part of the rebellious fighters after witnessing the harsh and unforgivable treatment of the British army towards his neighbours.
Then there’s Khuloud, whose story is one of secrecy and fighting the British Empire through her connections and her words. She writes articles critiquing the Empire, but her name is never the one to earn the respect of those reading her work. Her journey is that of class privilege, but also the inequality in the treatment of women. She completes her arc when she steps out of the shadows of her writing and physically walks the streets as herself, standing with other Palestinians of differing classes. One British figure of interest is Thomas Hopkins, the colonial secretary, whose meetings with Khuloud begin to break down his faith in the British Empire. He feels there’s something wrong with what they’re doing and does what he can to help the Palestinians. But as a single man with a finite amount of power and patience, he gives up and flees – an option that the Palestinians don’t have. He’s a visceral reminder that everyone can have goodwill in their heart, but actually doing something is a more difficult endeavour.
While Palestine 36 isn’t visually thrilling in any sense, one can appreciate Jacir’s splicing of colourised archival footage in scenes of prominence. It’s a constant mark of reality – a reminder that these events are part of a wider political context that still exists today. The acting raises the feature, with the women and children carrying its intense emotional weight. Yasmine Al Massri and Yafa Bakri’s roles as Khuloud and Rabab represent the spectrum of women and class, and how they choose to fight against colonialism. Jeremy Irons and Robert Aramayo’s performances as High Commissioner Arthur Wauchope and Captain Orde Wingate are menacing figures that will strike fury and disdain among the audience, signalling the actors’ brilliance.
Palestine 36 exposes how a well-written script, genuinely endearing characters and the right actors can elevate a film’s themes to new heights.
Mae Trumata
Palestine 36 is released on 31st October 2025.
Read more reviews from our London Film Festival coverage here.
For further information about the event, visit the London Film Festival website here.
Watch the trailer for Palestine 36 here:
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