A STONE’S THROW
(على مرمى حجر)
Dir. Razan AlSalah, 2024.
Canada, Palestine, Lebanon. 40 min.
In Arabic and English with English subtitles.
A standout selection from the 2024 edition of Prismatic Ground, Canada-based Palestinian artist Razan AlSalah’s latest film presents an auto-biographical account from her father, who was displaced as a child from Palestine to Lebanon during the first Nakba. To support his family, Amine would leave Beirut routinely for over a month at a time to work for an oil platform on the secretive Zirku Island. Connecting a broader lineage of Palestinian labor and extractive sites, AlSalah’s family story is interwoven with the sabotage of a British pipeline from Iraq to Haifa in 1936.
Barred from access to location shooting, A STONE’S THROW instead creates a haunting and occasionally humorous visual tapestry with a toolkit of creative code, satellite maps, bizarre corporate films, and analog filmmaking. In doing so, the story of an individual man provokes contemplation of a present moment where Palestinians have to move to escape genocidal violence and fossil fuels keep flowing from the earth.
All screenings of will be preceded by a pre-recorded intro from the filmmaker.
Preceded by
YOUR FATHER WAS BORN 100 YEARS OLD, AND SO WAS THE NAKBA
(أبوكي خلق عمره ١٠٠ سنة، زي النكب)
Dir. Razan AlSalah, 2018.
Canada, Palestine. 7 min.
In Arabic with English subtitles.
From the perspective of a ghost in a machine. AlSalah’s grandmother is dropped into a Google Streetview of Haifa and wanders in search of her family home and son Amine. This maze of still, distorted images from a transformed city offers no hospitality. 70 years after the Nakba, on the ports used to displace Palestinians to Beirut, the phantom finds tourists.
THURSDAY, AUGUST 1 – 10 PM
WEDNESDAY, AUGUST 7 – 10 PM
MONDAY, AUGUST 12 – 10 PM
SATURDAY, AUGUST 31 – 10 PM
THIS FILM IS PART OF THE PROGRAM “FROM THE ROOFS TO THE SKY”
One cannot colonize without a map, which is especially true of the demolished and settled territories of Palestine, where advanced public-private surveillance programs, such a Google’s contributions of cloud computing and facial recognition software to Israel or the AI targeting system known as Lavender, subject ordinary people to constant monitoring and the threat of execution from ground level to lower earth orbit. Accompanying the direct horror of guns, bombs, and bulldozers are these hidden mechanisms for apartheid and military violence. This August, Spectacle continues its Palestine solidarity and fundraising screenings with two experimental documentaries that offer subversive ways to scrutinize and utilize surveillance and aerial imaging technologies.
Following up last month’s screenings of Indian artist group CAMP’s FROM GULF TO GULF TO GULF is THE NEIGHBOUR BEFORE THE HOUSE, another radical exercise in collaborative documentary filmmaking in which eight Palestinian families place a CCTV camera on top of their homes and elucidate the changing face of a claustrophobic Jerusalem. Accompanying this work is Canada-based Palestinian filmmaker Razan AlSalah’s latest feature, A STONE’S THROW, a biographical portrait of AlSalah’s father who fled Haifa as a child during the first Nakba, told partially through the use of Google Maps and a mix of other analog and digital media.
What both films raise through these technologies are anti-imperialist panoramas and satellite views of occupied Palestinian landscapes, and in the case of A STONE’S THROW, polluting extractive zones. These films also offer alternative means of addressing the often imbalanced dynamics between documentary subject and filmmaker, bringing with them urgent insights into mobility, power, and the politics of looking.