‘I must document everything’: the film about the Palestinian photographer killed by missiles in Gaza

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Fatma Hassouna used poetry and photography to record the death and devastation she saw daily. Was she targeted by the IDF? We speak to the director of Put Your Soul on Your Hand and Walk, a film about the journalist Israel has sought to pursue its campaign of annihilation against Gaza and its people behind closed doors. More than 170 Palestinian journalists have been killed so far, and no outside reporters or cameras are allowed in. The effects of this policy of concealment – which the Guardian managed to pierce this week with a shocking aerial photograph that made the front page – are to ensure that the outside world only catches sight of Gaza’s horrors in small fragments, and to stifle empathy for those trapped inside by hiding them from view, obscuring their humanity. But a new documentary film, Put Your Soul on Your Hand and Walk, seeks to open a window to the unfathomable suffering inside Gaza. Continue reading... from Film | The Guardian https://ift.tt/OQNX6g1 via IFTTT
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November review replay of Bataclan terror response is good PR for French cops

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Cédric Jiminez’s focus on police operations in the aftermath of the 2015 Paris terrorist attacks doesn’t give a real sense of who any of the agents involved are

Artistic responses to the 2015 Paris terrorist attacks – including You Will Not Have My Hate, Paris Memories and the excellent You Resemble Me – have rightly erred on the side of the contemplative, though even that couldn’t excuse last year’s soft-rock stage musical For You I’d Wait. With November, the director and co-writer Cédric Jiminez, who excavated the origins of The French Connection in his 2014 thriller The Connection, zeroes in on the police operation in the immediate aftermath of the attacks when the terrorists were still on the run. Jiminez’s Connection star Jean Dujardin oversees the hunt, calling his wife to say “Give the kids my love” before five solid days of barking at suspects and pointing at maps.

Deploying the standard Jason Bourne vocabulary of swish-pans, shaky-cam and jittery editing, the film mercifully avoids restaging the attacks themselves and instead catalogues the surveillance operations, false leads, interrogations and high-speed pursuits. Despite reliable work from a wiry-looking Jérémie Renier as a scowling cop and Anaïs Demoustier as a novice agent, we don’t get to know much about these (fictional) heroes who are pulling pizza-and-Alka-Seltzer all-nighters. A gun-runner (Hugo Dillon) with a colourful if dubious defence – “Don’t blame my Kalashnikovs, blame pussy politicians!” he fumes – comes more sharply into focus than anyone else here.

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