“Each Day Was a Nightmare”: Annemarie Jacir Discusses the Past and Present of Palestine 36

      Few films recently have positioned themselves as effectively as *Palestine 36*, which takes the shape of a serious historical drama—backed by international funding, featuring some well-known actors, and utilizing a strong, understated visual style—to explore Palestine’s challenging pre-Zionist history while offering sharp criticism and moments of stark violence. The resonances with today’s realities are apparent not because writer-director Annemarie Jacir is exploiting contemporary events for storytelling, but rather as an unfortunate and unavoidable reflection of the present: *Palestine 36* had to postpone a shoot initially set for October 14, 2023, and even as production resumed, the film encountered challenges stemming directly from the ongoing war and genocide in Gaza. Jacir's ability to bring the project to fruition is a testament to her determination; the fact that the film turned out well under such circumstances is particularly impressive.

      I had the pleasure of interviewing Jacir at the 2025 Tokyo International Film Festival, where *Palestine 36* triumphed over stiff competition to secure the Grand Prix. It is one of three features (alongside *All That’s Left of You* and *The Voice of Hind Rajab*) submitted by Palestine for this year’s Best International Feature, and has since made the shortlist. As *Palestine 36* begins to screen in U.S. theaters, I am pleased to share our full conversation below.

      The Film Stage: What brings you here?

      Annemarie Jacir: I reside in Palestine, but I’m coming from Los Angeles. I attended the AFI Festival, then had a screening in New York, and flew here from New York yesterday. Typically, I’m not in the U.S.

      It's nice to have that distinction.

      Absolutely, I’m quite disoriented with my schedule after traveling from Palestine to L.A. to New York to here.

      You've taken quite the globetrotting route, albeit in reverse.

      Indeed, it felt that way. I found it surprising that I just left California for the AFI Film Festival and now needed to return, but we actually go upward, in a sense. [Laughs]

      Where was the New York screening held?

      At MoMA. I was informed it should just be "MoMA," not "the MoMA." It was a screening for AMPAS voters, showcasing the Palestinian Oscar entry.

      You must be on your best behavior around the AMPAS voters, right?

      Yes, exactly! [Laughs] It was pretty casual. Many turned up, and I persuaded them to let some of my friends in despite the "voters only" rule. I explained, "I know, but my friends haven't seen my film."

      I imagine you'd want your friends there—they're likely to have a more favorable disposition, which helps create a positive atmosphere.

      Definitely! The audience's energy matters.

      This marks your fourth film submitted by Palestine for the Oscars. Given that this film represents your country, and considering its significance, do you feel a sense of positivity or pressure?

      I don’t feel pressure; it feels positive to me. This year feels particularly significant compared to others. Normally, the committee chooses one to three films, but this year, there were around ten possibilities, which is unprecedented. Especially given how challenging this film's production was—and the numerous years it took amidst the political turmoil—it feels like a genuine labor of love. Reaching the finish line with it feels very significant.

      We experienced numerous delays due to worsening conditions. The scale of this project was enormous, far more than my other films like *Wajib*, which focused on just two men in a car. So when we were chosen, it was incredibly rewarding. My work is primarily for us, and it's vital.

      I had read that production was set to start around October 10, 2023?

      October 14. We had ten months of preparation since this film is so expansive. No one works on this scale in Palestine; it's a period piece with considerable depth. We began early to find the village, restored it, planted crops, and built everything from scratch—military vehicles, weapons, costumes—the entirety was crafted from the ground up. When everything fell apart and we had to evacuate the crew, the West Bank was under complete lockdown, halting our filming. We kept hoping things would improve but gradually recognized things were growing darker.

      Every day was a struggle. It was emotionally draining for our team. While we weren’t in Gaza, we were near it. Those affected are our friends, family, and colleagues. The film was created amidst significant heartbreak, but it's what we must do. People in Gaza continued their lives despite circumstances, and they—unlike us—have no choice but to endure.

      It seems you faced challenges when a setting you constructed was taken over by settlers?

      Yes, that was the village.

      It's astonishing how the realities of past and present collide, separated by nearly