Bristol Palestine Film Festival Returns to the Arnolfini

After 12 relatively uneventful years, the Bristol Palestine Film Festival (BPFF) made national headlines in November 2023 when the Arnolfini announced that it had made the ‘challenging’ and ‘difficult’ decision to cancel two of the festival’s events for fear that they could be “construed as political activity”. This provoked an outcry, during which more than 1,000 artists pledged not to work with the Arnolfini in protest against ‘censorship’. The gallery’s management subsequently apologised  “without reservation”, saying that they “deeply regret the distress caused”. But by May, the backlash led to the resignation of Arnolfini executive director Gary Topp.

This year, the festival is back at multiple venues across Bristol, running from November 30 to December 8. Among the host venues is . . . the Arnolfini. We asked BPFF trustees Karena Batstone and Alison Sterling how this came about.

The problem with the Arnolfini seemed to stem from a fundamental misunderstanding about the nature and purpose of the festival – specifically they assumed it was a political or campaigning event. But the festival had been part of Bristol’s film calendar for more than a decade, which means it shouldn’t have been hard to find out the truth. So what was really going on?

The decision to cancel our events, just two weeks before the festival was set to open, was really troubling – especially considering how Palestinian voices were, and continue to be, silenced on the global stage. By deplatforming the festival, it sent a pretty damaging message and only added to the suppression of perspectives that desperately needed to be heard.

The Bristol Palestine Film Festival has always been about showcasing a range of Palestinian voices, creating a space for cultural exchange, and helping people understand more through cinema. While our films do tackle important social, political and historical issues, the goal has never been to campaign. It’s really about opening up dialogue and sharing these important stories.

What happened at Arnolfini probably came from some discomfort with these kinds of narratives and maybe a lack of understanding of what we’re really trying to do. Thankfully, after some mediation, Arnolfini has recognised where things went wrong and has committed to making sure their practices better support freedom of expression and intellectual freedom moving forward.

How challenging was it for you to become the focus of national attention?

It was incredibly challenging. We’re used to operating as a festival that connects audiences through film and other arts events, not as a focal point of national debates. It was difficult, but also vital, to speak up for the integrity of the festival and the wider arts community’s right to engage with complex issues without fear of reprisal or cancellation. The support we received helped us remain steadfast, and we’re proud to see how this dialogue has led to broader conversations about representation and institutional accountability in the arts.

You must have been heartened by the show of support from Bristol’s arts community.

Absolutely. We were deeply moved by the overwhelming solidarity from the arts community in Bristol and beyond, but we owe a special debt of gratitude to Bristol Artists for Palestine. Their campaign and tireless support were instrumental in drawing attention to the silencing of Palestinian voices and pushing for change. Their response made it clear that we were not alone in facing these challenges, and it underscored the strength and resilience of Bristol’s creative community. Artists, audiences, and fellow organisations rallied together to defend the right to share diverse and often suppressed perspectives, and their collective efforts were key to achieving a positive outcome in our discussions with Arnolfini.

You’re back at the Arnolfini this year for some events. So what’s changed?

A lot has changed since last year. Arnolfini has introduced new programming policies and processes, and there’s been a shift in leadership, which has brought fresh perspectives. They’ve been transparent with their staff and partners about these changes, including clearer guidelines for handling complex programming decisions and a stronger commitment to working collaboratively with artists and communities. Our return to Arnolfini isn’t just about being reinstated; it’s a step towards building a more genuine partnership where Palestinian voices are truly respected and included.

How supportive are the festival’s other venues?

Our other venues – Watershed, Cube and Palestine Museum – have been incredibly supportive throughout. Many of them reached out to us directly after last year’s events, offering their platforms, venues and resources to ensure that the festival continued uninterrupted. This solidarity reinforced the importance of maintaining spaces where Palestinian stories and voices can be shared freely and without censorship.

Life must be very difficult at the moment for Palestinian filmmakers, as well as those making films about Palestine, especially as there seems to be a co-ordinated effort to silence Palestinian voices. Has that been reflected in the number of new films available to show at the festival?

Yes, the situation for Palestinian filmmakers is dire. Many are working under extreme conditions, and some have faced direct violence, censorship, or displacement. Despite these challenges, we are continually impressed by their resilience. The number of new films may have been affected, but the quality and power of the stories being told remain unparalleled.

From Ground Zero

Our opening film screening this year, From Ground Zero by Rashid Masharawi, is a powerful testament to the perseverance of Palestinian filmmakers under the most challenging conditions. The film, which was controversially cancelled by the Cannes Film Festival, is a compilation of 22 short films made by different filmmakers inside Gaza during the ongoing genocide. Despite facing logistical nightmares such as power outages, lack of equipment, and the constant threat of violence, these filmmakers have managed to produce deeply moving works that capture the harsh realities of life in Gaza. Their determination to tell their stories, even under such extreme circumstances, is truly remarkable.

What are the highlights of this year’s festival?

This year’s festival is packed with powerful stories and fresh perspectives. We’ve got a great selection of films from both well-known and emerging Palestinian filmmakers, covering everything from identity and memory to the everyday realities of life under occupation.

The Teacher

Aside from From Ground Zero, we’re showing Lyd, which dives into the often-overlooked history of Palestinians displaced from Lydda in 1948. Aida Returns tells a really compelling story about exile and the deep longing for home. Tomorrow’s Freedom is all about the fight for liberation and hope, while The Teacher is a drama which takes a closer look at the personal struggles and aspirations of a teacher living under occupation.

We also have films like Where Olive Trees Weep and To a Land Unknown that tackle themes of loss, memory, and identity, while Familiar Phantoms offers a beautiful, lyrical reflection on resistance and resilience.

Another standout this year is Yallah Gaza, which captures the creativity and nonviolent resistance of people in Gaza, showcasing how art and community activism provide hope and resilience under siege. It’s an inspiring look at the human spirit’s ability to persist despite harsh realities.

This year’s programme also includes a selection of new shorts, covering everything from animation to intimate dramas. These short films give insight into personal stories of resilience, love, and the complexities of daily life in Palestine.

Leila and the Wolves

And of course, we’ll be showing classics like Leila and the Wolves and The People and the Olive, which bring important historical narratives and activism to the forefront, showing the ongoing link between art and social change in Palestine.

Our concluding film, Thank You for Banking with Us, tackles the contentious issue of sexist inheritance laws under Islamic Sharia. This drama revolves around two sisters, who, after their father’s death, must put aside their differences to scheme against their brother in order to secure their rightful share of an unexpected inheritance.

Many of the screenings will be followed by panel discussions and Q&A sessions, offering a unique chance to engage directly with filmmakers, artists, and experts. These discussions are a fantastic opportunity for the audience to dig deeper into the themes, ask questions, and hear behind-the-scenes insights into the creative process.

Beyond the films, we’re really excited about some special events too. We’ll have Reem Kelani performing in concert—she’s a renowned Palestinian-British musician known for her incredible interpretations of traditional Palestinian music and her own moving compositions. Plus, after the screening of The People and the Olive, we’re organising an olive tasting event, where you can not only enjoy the flavours of Palestine but also learn about the importance of olives to Palestinian culture and resistance.

Together, these films and events create a rich tapestry of stories that really celebrate Palestinian resilience, creativity, and the enduring spirit of its people.

What would you say are the best and/or most important films to come out of Palestine in recent years?

That’s a tough question because there have been so many incredible Palestinian films in recent years, each offering a unique lens into history, life under occupation, and the human experience.

Beginning with historical narratives, Lina Soualem’s Bye Bye Tiberias (2023), which we screened last year, provides a deeply personal look into her family’s history, spanning four generations of women in Palestine and highlighting the impact of displacement. Elia Suleiman’s It Must Be Heaven (2019) uses satire to explore his own experience of exile, weaving together historical and personal threads to reflect on the broader Palestinian struggle.

There are many films in which the occupation and Israel’s systems of control are central to the narrative. Hany Abu-Assad’s Omar (2013) and Ameen Nayfeh’s 200 Metres (2020) both poignantly depict the daily realities Palestinians face, such as navigating the separation wall and military checkpoints. Farah Nabulsi’s The Present (2020) powerfully captures the frustration and emotional strain of living under occupation, focusing on a father and daughter’s attempts to simply buy a gift while contending with the Israeli military’s control over their movement. Muayad Alayan’s The Reports on Sarah and Salim (2018) offers a unique, multilayered narrative, blending the personal and the political, as it explores a forbidden affair between a Palestinian man and an Israeli woman and the far-reaching consequences within the militarized context of Jerusalem.

Lastly, there are films that offer intimate portraits of life in Palestine. Annemarie Jacir’s Wajib (2017) presents a tender and emotionally complex portrayal of the relationship between a father and son as they prepare for a wedding in Nazareth. Gaza Mon Amour (2020) by the Nasser brothers tells a beautiful and humorous love story set in Gaza, showing that even under occupation, the personal joys of love, humour, and connection continue to survive. And finally, the beautifully shot documentary Gaza (2019), by Garry Keane and Andrew McConnell, provides a deeply moving exploration of everyday life in Gaza, showcasing the resilience of its people in the face of hardship. When the film was made, the situation in Gaza was already bleak, but today the devastation is on an unimaginable scale. The ongoing Israeli destruction has left large parts of Gaza completely levelled—its buildings, landscapes, and communities shattered. It may be a very long time before we see the scenes featuring in Gaza again, making this film a haunting and irreplaceable testament.

The festival’s origins are in a football match on the West Bank pitching a Palestinian team against the Easton Cowboys from Bristol (whose goalie used to be a young artist named Banksy). The Cowboys and Cowgirls are in rude health, but is the Palestinian team still going?

The festival actually has its roots in more than just one football match. The Easton Cowboys played multiple games against different teams across the West Bank, all coordinated by Hamad Qawashmeh from the Hebron International Resource Network. Since that initial visit, the Cowgirls have also played, and the Cowboys have returned several times. In fact, we’ve heard they’re planning another trip this year!

As for the Palestinian National Team, they’re still going strong, despite all the challenges they face—whether it’s movement restrictions, damaged infrastructure, or political hurdles. Their resilience is incredible. The fact that they continue to compete in tournaments like the AFC Asian Cup really speaks to their determination to keep football alive in such tough circumstances.

The full programme and ticket information for the 2024 Bristol Palestine Film Festival can be found here.

Main image from ‘Yallah Gaza’. All pix: Bristol Palestine Film Festival