Reaper Madness - by Mr. Fish

NEW YORK: “The Voice of Hind Rajab,” like all great pieces of art, takes a straightforward story — the battle to save the life of a 6-year-old girl, Hind Rajab, trapped in a car in Gaza surrounded by murdered family members — and elevates it to an archetype. This story is as old as time. It lies at the heart of all religious and moral literature. It pits the cruelty and heartlessness of power against the empathy and compassion of the powerless. It asks us what kind of a life we want to live. Is it a life defined by hubris, domination and violence? Or is it a life defined by compassion, justice and self-sacrifice? These are moral, not political questions.

To nurture, preserve and protect the lives of those demonized in war is to be branded a traitor — a subversive, the enemy. It is to risk death. War, and especially genocide, is the quintessential expression of what Sigmund Freud called Thanatos, the death instinct that drives humans towards the destructions of others and themselves. Those who fight for Eros, for life, are eliminated. This schism is at the core of the film. It is the struggle between good and evil, light and dark. And, as so often happens in war, Thanatos prevails. This almost certain defeat gives unquestioned nobility to those who defy the forces of death.

Israel and its supporters do not want the outside world to see the bureaucratic machinery that perpetuates its mass slaughter, but I suspect, even more, it does not want the world to see the humanity of the Palestinians who resist.

It was hard to find a screening. I traveled for over an hour to see it at the Film Forum in New York City, which had just one showing at 4:45 in the afternoon. I understood why. Despite critical acclaim, an Oscar-nominated director and industry heavyweights like Brad Pitt and Joaquin Phoenix behind it, the film — directed by Tunisian filmmaker, Kaouther Ben Hania — faced major difficulties in getting an American distributor — reportedly out of “fear” and disagreement “with the film’s politics,” according to a report by Deadline.

It is not only devastating, not only a cinematic masterpiece, but it rips back all the layers of rhetoric and propaganda to expose the fundamental struggle between the Israeli occupier and the occupied. The struggle is, yes, a conflict about the theft of Palestinian land. It is, as well, a conflict about a violent and lethal occupation, one that has become full-blown genocide in Gaza. But it is also the ancient struggle between the forces of life and death.

Anyone who follows Israel’s murderous rampage in Gaza knows the story of Hind Rajab. On Jan. 29, 2024, the Israeli army ordered the evacuation of the Tel al-Hawa neighborhood in Gaza. Six members of the Hamadeh family, along with their 6-year-old niece, Hind, crammed themselves into a black Kia and attempted to flee. They did not get far. An Israeli tank fired on the car, killing everyone except Hind and her 15-year-old cousin, Layan. Layan was able to contact the Palestinian Red Crescent Society (PRCS) on her dead father’s phone.

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“They are shooting at us. The tank is next to me,” Layan tells the PRCS dispatcher, Omar Alqam, an emergency medical worker based in Ramallah.

“Are you hiding?” asks Omar, played by Palestinian actor Motaz Malhees.

“Yes, in the car, we’re in the car, the tank is right next to us,” Layan says.

“You are inside the car?” Omar asks.

There is the sound of gunfire — 62 shots in six seconds — as Layan screams.

The line goes dead.

“Hello? Hello?” Omar says.

There is no answer.

The PRCS immediately calls back.

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