“Throughout his long career Israeli Palestinian film writer, film director and film producer Michel Khleifi has sought to portray Palestine and her soul. Khleifi was born in Nazareth and has lived in exile in Brussels since 1970. He taught at the Institut Supérieur des Arts du Spectacle. In 1987 Michel Khleifi won the International Critics’ Prize in Cannes for his film Wedding in the Galilee. In 2003 Khleifi and Eyal Sivan filmed Route 181: Fragments of a Journey in Israel-Palestine. The following year the movie was censored in France. Despite immense difficulties and set backs Khleifi has created an œuvre of immense importance. Khleifi stands in the tradition of Mahmud Darwisch, Emile Habibi, Edward Said, Juliano Khmer-Meir and all the women and men who fight and have fought non-violently with their art against the destruction of their homeland and who are striving to preserve and to portray the beauty of Palestinian culture and the dignity of her people.
On April 28 Khleifi will show Ma’loul Celebrates its Destruction, a 30 minute short. You are invited to join us as Khleifi talks about his career, his upbringing and his life in exile. You are invited to join us as we seek to envision a future for Palestine in justice and in peace.”
Een andere Joodse stem / Another Jewish Voice
Ma’aloul is a Palestinian village in Galilee. In 1948, it was destroyed by the Isreali armed forces and its inhabitants expelled either to Lebanon or to the neighboring town of Nazareth. Ever since, the former inhabitants of Ma’aloul are only allowed to visit it once a year on the anniversary of Israel’s independence and have developed a tradition of organizing a picnic on this day on the very site of the destroyed village.
“One of the reasons that Khleifi’s films resound, I believe, with so many people, and myself included, is that they are so human. He aims to make visible l’invisible, trauma, memory, the human experience, and give that or they who cannot be seen the same level of drama and complexity as the universe, with equal importance and weight, and with all of the emotions we are capable of: despair, hope, joy, sadness... ”
Rebecca Jane Arthur1