“Palestine 36” is a sweeping historical drama written and directed by Palestinian filmmaker Annemarie Jacir. The project stands as one of the most ambitious Middle Eastern productions of recent years. Principal photography was originally set in Palestine but faced disruption due to regional violence, forcing the crew to relocate temporarily before returning to complete filming on location. Jacir described the process as vital to preserving the authenticity of the landscape and its people, calling the film “a story that had to be told in its own soil.
The film premiered at the 2025 Toronto International Film Festival in the Gala Presentations section, where it received a lengthy standing ovation. It went on to win the Tokyo Grand Prix (Best Film) at the Tokyo International Film Festival, marking a historic victory for Palestinian cinema. We caught it in Thessaloniki.
“Palestine 36” unfolds across the tumultuous years of 1936–1939, as Britain’s colonial rule in Palestine faces its first organized uprising. The story begins in the small farming village of Al Basma, where Yusuf, a young man with little interest in politics, dreams of a more prosperous life in Jerusalem. Dividing his time between agricultural work in his rural home and the capital’s bustling streets, he becomes a quiet witness to a world on the brink of seismic change.
His employer, Amir, is a newspaper editor who also acts as a political operative, while Amir’s wife, Khuloud, secretly writes incendiary articles under a male pseudonym, exposing the injustices of British rule. In the countryside, Yusuf’s affection for his widowed neighbor Rabab and her family, led by matriarch Hanan, provides a fragile emotional anchor amid the growing unrest. Their daily struggles over land, labor, and survival soon intertwine with the larger fight for freedom. As British repression intensifies, embodied by Captain Orde Wingate and the aloof High Commissioner Sir Arthur Wauchope, the narrative broadens its lens to encompass a nation awakening to its dispossession.
Annemarie Jacir delivers a work that is nothing short of epic. Its novel-like structure, shifting between multiple characters and perspectives without relying on a single protagonist, adds to its sweeping approach. This narrative design allows events to unfold from distinct viewpoints, revealing that the accusation remains the same regardless of perspective: Jewish settlers were moving onto Palestinian land not in an effort to coexist, but to displace the previous owners, with the British forces acting as enforcers of this transition. The early plans for the construction of a wall are particularly indicative of what was unfolding at the time.
Simultaneously, the complexity of the situation—especially in the intermingling of the personal and the political—adds even greater depth to the narrative. Relationships formed before the uprising are severely tested, while individuals are forced to redefine their entire worldviews in the face of a rapidly changing history. Even within Palestinian society, friction arises regarding how best to respond to the impending upheaval: older generations tend to favor patience and negotiation, while younger ones are eager to take up arms.
Within this grand historical canvas, several individual arcs stand out. The love story between Yusuf and Rabab, tender yet restrained, takes place in a world where affection must coexist with survival. In contrast, Khuloud’s intellectual defiance—writing her subversive columns behind a male pseudonym—embodies the voice of modern Palestinian feminism, linking the domestic to the revolutionary. Jacir ensures that women are not reduced to symbols of victimhood but are portrayed as active participants in shaping history. Furthermore, the exploration of religion, particularly Christianity and its social implications, completes the film’s thorough portrayal of the era. Lastly, the presence of Captain Wingate provides a focal antagonist, intensifying the film’s moral and political tension.
The ensemble cast delivers consistently strong performances. Hiam Abbass gives another commanding portrayal as Hanan, a matriarchal figure who plays a crucial role, especially in the early part of the story. Saleh Bakri truly commands the screen as the rebel leader Khaled, his charisma and conviction anchoring the scenes he appears in. Yasmine Al Massri excels as Khuloud, embodying a woman boiling with quiet fury beneath an exterior of restraint. Karim Daoud Anaya captures Yusuf’s transformation from naïve observer to disillusioned participant with confidence and precision. The only slightly weaker note is Robert Aramayo’s portrayal of Wingate, whose villainy borders on caricature. On the other hand, the presence of veterans such as Jeremy Irons and Liam Cunningham enhances the production’s credibility, highlighting the strength of the casting choices that round out this exceptional ensemble.
The production values are equally impressive. The recreation of the 1930s is meticulous, and the decision to film in Palestine—despite the evident risks—proves to be an inspired one, grounding the story in authenticity. Directors of photography Helene Louvart, Sarah Blum, and Tim Fleming capture the landscapes and interiors with artistry and realism, whether in intimate domestic moments or larger-scale sequences. A number of scenes stand out for their visual ingenuity, including a fluid panning shot during a dinner sequence and the well-choreographed action scenes later in the narrative. Tania Reddin’s editing is among the film’s strongest assets, as the various episodes and arcs are connected seamlessly, giving the narrative coherence and emotional rhythm.
“Palestine 36” stands as an outstanding achievement—both as a self-contained story and as an illuminating depiction of how the Palestinian issue emerged in modern times, showing with clarity and conviction how history continues to echo into the present.