Imagine a film festival where the audience isn’t just there for entertainment, but to stand in solidarity with a cause. That’s exactly what happened at the 31st Kolkata International Film Festival, where the screening of Palestine 36 became a powerful statement of unity and resilience. But here’s where it gets controversial—this wasn’t just a celebration of cinema; it was a bold reminder of the ongoing struggles that echo across generations. Held from November 6 and concluding on Thursday, the festival featured three screenings of Palestine 36, Palestine’s official entry for the 2026 Academy Awards in the International Feature Film category.
Directed by Annemarie Jacir, this historical drama revisits the 1936-1939 uprising against British colonial rule in Palestine. It vividly portrays how the arrival of Jewish settlers reshaped the lives of Palestinians, a narrative that, though rooted in history, feels eerily relevant today. And this is the part most people miss—the film doesn’t just recount the past; it draws striking parallels to the current crisis in Gaza, sparking conversations that are both urgent and deeply personal.
For many attendees, the film struck a chord far beyond its historical context. As one audience member put it, ‘I know it’s about 1936, but the reality hasn’t changed—it’s only gotten worse. This film helped me understand the situation better.’ Such reactions highlight how cinema can bridge the gap between abstract news headlines and the lived experiences of people.
Abu Sohel Khondekar, director of Mehroon, who attended the screening, shared a poignant perspective with The Hindu: ‘These films humanize what is often dehumanized by mainstream media. They show Palestinians not as victims or stereotypes, but as individuals with dreams, humor, culture, and resilience. Screening these films internationally keeps the conversation about Palestine alive, personal, and profoundly human.’
Here’s a thought-provoking question—can a film from the 1930s truly reflect the complexities of today’s conflicts? While some might argue that the contexts are vastly different, others see it as a mirror to recurring patterns of oppression and resistance. What’s undeniable is the emotional impact it had on viewers, many of whom left the theater with a renewed sense of empathy and understanding.
Adding to the festival’s focus on Palestinian narratives, Rashid Masharawi’s Songe (Passing Dreams), a film exploring displacement and migration, received two screenings. Together, these films underscored the festival’s commitment to amplifying voices often marginalized in global discourse.
As the curtains closed on the Kolkata International Film Festival, one thing was clear: cinema isn’t just a medium for storytelling—it’s a tool for solidarity, education, and change. What do you think? Does art have the power to shape our understanding of history and current events? Share your thoughts in the comments—let’s keep this conversation going.
