"I View Palestine as the Injury from Which the Entire World is Currently Suffering": Director Farah Nabulsi Discusses The Teacher

      “To your people, your son is worth 1,000 of mine.” This powerful statement from Oscar-nominated director Farah Nabulsi’s feature debut, The Teacher, draws inspiration from the 2011 Gilad Shalit prisoner swap, during which one Israeli soldier was exchanged for 1,027 prisoners, the majority being Palestinians and Arab-Israelis.

      Nabulsi’s gripping drama centers on a Palestinian schoolteacher named Basem (Saleh Bakri) who develops a close relationship with one of his students while grappling with a sacrifice necessary to safeguard his future. Additionally, he builds a connection with a British social worker, Lisa (Imogen Poots).

      With the film now hitting theaters through Watermelon Pictures, I had a conversation with Nabulsi about the story’s origins, the on-location filming in Palestine, the heightened emotional impact since its TIFF 2023 premiere, encouraging those unsympathetic to the Palestinian plight to watch the film, and more.

      The Film Stage: To begin, what inspired you to explore the relationship between a teacher and a student for this story?

      Farah Nabulsi: Honestly, that concept stemmed from a writer's imagination. I questioned what could fill the absence of a father figure in a teenager's life. Many of us can remember at least one teacher who seemed to play a bigger role than just an educator. In Palestine, particularly in certain villages, it’s often a family affair, with many relatives living close together. I wanted Basem to serve as a surrogate father figure without being a direct relation, like an uncle. A neighbor who has witnessed the child's growth feels like a sort of uncle. This setup allows for a relatable connection as the story unfolds.

      The film's cinematography conveys a strong sense of immediacy and urgency. Can you share your approach to this, and were there any films that inspired you?

      It's interesting because by the first meeting with my Director of Photography (Gilles Porte), I had gathered over 500 images on my phone, not all of which were film-related. Even if they were from films, they usually inspired lighting or shooting styles rather than specific frames. My references came from various forms, including personal photographs. I envisioned a lot of what I wanted before finalizing locations. I had detailed notes outlining shot lists, which would naturally evolve through our discussions and location dynamics.

      I did mention one specific film—Denis Villeneuve’s Incendies—as a reference for its resonance. I clarified, however, that I wasn't trying to mimic any other film; I wanted to tell my story through my unique vision.

      We collaborated extensively, creating a comprehensive book filled with scene-by-scene breakdowns and location details. It was around 300 pages, with images illustrating my vision for camera movements and shots. We organized everything meticulously, understanding that when complications arose, being prepared would help us manage any chaos on set. This visual guide was distributed to every department head to clearly communicate our intentions, making the filmmaking process more focused and unified.

      Since the film premiered, the situation in Gaza has escalated. How has witnessing these events affected you, and has the film gained new significance?

      It’s been surreal. The TIFF 2023 premiere was in September, and just a month later, the situation deteriorated drastically. The film has been received well, with over 20 international awards mostly from audience votes, which has been incredibly gratifying. However, the film's emotional weight has certainly intensified in light of current events.

      I wrote the film five years ago; I could never have anticipated its release coinciding with such a critical moment in the discourse. I feel profoundly grateful to present this film during such a painful time—not just for humanity, as Palestine represents a wound from which the world bleeds, but also for my own ability to cope with the surrounding loss and destruction.

      We’ve screened it in the U.K., Ireland, and across the Middle East and North Africa, and I’m thrilled for its release in the U.S. The film resonates with audiences, even though it was written years ago. People often wonder if my writing was influenced by recent events, but the reality in Palestine has been developing for decades and is rooted in historical stories, including the 2011 prisoner exchange that inspired the narrative. The film seems to strike a chord now because of the ongoing reality.

      The entire film was shot in Palestine. I’ve read in some interviews about your experiences that echoed your script and added depth to it. Did you adjust the script based on what you encountered during filming, and what was it like to shoot there?

      Actually, no, I didn't need to modify the script. I had conducted extensive research and spent considerable time in militarily occupied Palestine, engaging with individuals who have endured the harsh realities captured in the screenplay. I was confident in the story I aimed to tell. Given the dynamic narrative, it was crucial to remain focused to ensure clarity for audiences, especially