User Reviews

A typical one bit propaganda movie, I know heavily one sided propaganda movies is not new. It goes over what you believe it to from one perspective and it hopes you are the typical woke activist that has no knowledge of the history of such a conflict dating back a long time and hopes you haven’t seen the atrocities committed by this side. It prays you don’t realise that the re-ignition of the conflict started with a unwarned missile strike. All in all if you did a few google searches about the conflict and believe what you get told than you’d like this movie but I like to do my own in depth research and I don’t care for propaganda pieces that offer little.

2025 Oscar winner for best documentary. Its subject — the Israeli-Palestinian conflict is more relevant today in 2026 after seeing the genocide and starvation Palestinians in Gaza.

BS propaganda. No he has not. He has been fighting for Hamas a known terrorist group who started the war and hid behind civilians. I hope the Israelis wipe out Hamas. We know they won't keep their promises with regard to the peace deal. Even if they lie about it, they'll be hurling missiles and rockets over the border within a year. Next time I hope the Israelis turn Gaza and the West Bank into parking lots.

"No Other Land" (2024) is a documentary about the ongoing Israeli - Palestinian conflict, and shows the every day life of Palestinians in West Bank, that is casually invaded by Israeli army. This is an absorbing and very down to earth documentary made by a young Palestinian who lives there and Israeli journalist. This film takes no sides, although its difficult not to take one after witnessing events that happen there on regular bases - and i will leave it at that. At running time 1 h 35 min this is an important documentary, even if sometimes it lacks focus or cleared narrative. But images that it shows are speaking for themselves.

En el cine documental, el sonido tiene un papel crucial en la construcción de la "verdad". Si se utilizan sonidos naturales o grabaciones de campo, sugeriríamos que la autenticidad del sonido refuerza la sensación de realismo. Sin embargo, el uso de música, efectos o sonidos manipulados puede sugerir una interpretación subjetiva de los eventos representados. En "No Other Land", el sonido podría no ser solo un fondo, sino un elemento que potencia el discurso ideológico y emocional de la película, guiando la percepción del **** imágenes construyen mitos. Si "No Other Land" está centrado en una lucha territorial o en una reivindicación de identidad, podríamos señalar que el documental no solo muestra una lucha por la tierra, sino que construye una narrativa cultural más amplia sobre el concepto de propiedad, pertenencia y justicia. En este sentido, invitamos a cuestionar cómo las imágenes del documental no solo informan, sino que también operan como construcciones ideológicas que encarnan y perpetúan ciertos valores."No Other Land" reconstruye un periodo de tiempo específico o un conflicto en particular. Cabe el análisis sobre la relación entre cine e historia y cómo el cine interpreta, reinterpreta o distorsiona la realidad histórica. En este caso, un análisis de "No Other Land" desde esa perspectiva podría centrarse en cómo el documental maneja las fuentes históricas, los testimonios y los eventos pasados. Podríamos preguntarnos cómo las imágenes en el documental buscan un acercamiento "factual" a la historia, o si se alejan de la idea de una representación objetiva y se convierten en una narración subjetiva e interpretada. Esto es relevante especialmente si el documental busca, por ejemplo, representar eventos históricos en términos emocionales, personales o simbólicos, en lugar de buscar un retrato impersonal y preciso. Aunque tradicionalmente el cine documental se asocia con un estilo "realista", propondríamos que el montaje no solo servía para narrar una historia, sino para generar ideas y provocar respuestas emocionales en el espectador. Si "No Other Land" emplea técnicas de montaje que combinan diferentes temporalidades o perspectivas visuales, sugeriríamos que estas transiciones no son meramente estilísticas, sino que buscan incidir directamente en la comprensión y la reacción emocional del espectador. Vemos el montaje como una herramienta para revelar las contradicciones y las tensiones de un conflicto. Así, el uso de imágenes yuxtapuestas podría ser interpretado como una forma de visibilizar los distintos puntos de vista y los choques de poder presentes en el conflicto central del **** la teoría de la "hibridación", podríamos aplicar su concepto a los procesos de resistencia representados en "No Other Land". En lugar de ver las identidades de los sujetos del documental como fijas o esencialistas, podríamos invitar a ver cómo las luchas representadas en la película resisten a las fuerzas de la homogeneización cultural. Si el documental muestra comunidades en disputa por la tierra o la identidad, sugeriríamos que estas comunidades no se definen únicamente por su diferencia, sino que también actúan en un espacio de negociación y resistencia, generando nuevas formas de identidad híbridas que no se ajustan a las categorías establecidas. Desde el enfoque en las relaciones de poder, podríamos analizar cómo el documental crea un espacio de resistencia a través de las imágenes y el discurso. ¿El documental permite a los sujetos mostrarse como agentes activos, capaces de generar sus propias narrativas y redefinir su realidad? ¿O, por el contrario, los presenta como víctimas pasivas? también podríamos sugerir que el poder no solo está representado en las estructuras visibles del conflicto, sino que también está inscrito en las formas de ver y de representar el mundo. En este sentido, el documental podría ser una forma de resistencia en sí misma, al cuestionar los relatos oficiales y ofrecer una plataforma para aquellos cuya voz ha sido silenciada por los discursos dominantes. Al analizar "No Other Land" a través de estos marcos teóricos, es posible obtener una visión mucho más rica y profunda de cómo el documental no solo representa la "realidad", sino que también interviene en la construcción de significados culturales, políticos e históricos. En lugar de simplemente dar testimonio de un evento o una comunidad, la obra de Abraham se puede ver como un lugar en el que se negocian identidades, relaciones de poder y visiones del mundo. Al mismo tiempo, al examinar cómo se manejan las imágenes, el sonido, el montaje y el discurso, podemos ver cómo el cine documental se convierte en un instrumento para desafiar las normas, reconfigurar las percepciones y generar nuevas formas de pensamiento. Jose Duran - ****

Very interesting pov of someone being kicked out of their home who is part of a people that are being slowly and systematically pushed out of their homes

Basel Adra is a young Palestinian who lived in the occupied West Bank's Masafer Yatta. He documented the heartless destruction of people’s modest homes by the Israel Defense Forces. Eventually, he pairs up with an Israeli journalist (Yuval Abraham) in an attempt to get more international attention. The inhabitants are given little notice to empty their homes before bulldozers crush them, leaving some of them to live in caves. The footage shows the relentless incursions that leave the natives bereft, with some of them even wounded. Most of the incredible footage is hand-held and shot on the fly. Even so, they manage to create some beautiful imagery to make the dreadful acts more poignant. Thru it all, the alliance between these men, who are on opposite sides of the conflict, offers a small taste of reconciliation around senseless eradication of the villages. Surprisingly, the subtitles spell “god” in lower case, but I couldn’t find any explanation.

É absolutamente impressionante a capacidade de registro e o discurso político que as "imagens em movimento" são capazes de criar. Oscar de documentário merecidíssimo, com uma potência e clareza discursiva que impressionam. Embora eu acredite que a categoria merecesse um aparo didático maior, por exemplo, situando e resgatando historicamente o conflite árabe-israelense, para não parecer algo episódico, o recorte espaço-temporal também é muito bem vindo nesse tipo de projeção, eternizando a luta naquela aldeia da Cisjordânia, que perdura até hoje, acirrada ainda mais pelas investidas recentes de Israel.

One of the best docmentaries i have ever seen:real,emotional,sad ,tough.This cruel regime must be erased.Palestinians' suffering must end NOW.

Filming to confirm the apartheid that the Palestinian people suffer at the hands of the Israeli state. The creators of this powerful documentary may not have a film education, but what they have achieved with this work transcends any teaching; it is an audiovisual document that captures human evil and unnecessary suffering. The work of these journalists and activists is important and moving; watching them discuss their past, present and future is heartbreaking. Free Palestine!

Regardless of how one views the ongoing volatility between Israelis and Hamas in Gaza, there’s another little-known yet equally explosive crisis in the region that has been going on for far longer. This nearly 30-year-old conflict has been quietly but unsettlingly unfolding on the Palestinian Occupied West Bank involving parties not tied to the better-known current conflict, a confrontation that has not received nearly the same level of attention – that is, until the release of this troubling film. Shot over the course of four years, the writing-directorial team of Yuval Abraham, Rachel Szor, Hamdan Ballal and Basel Adra have compiled this shocking documentary about the atrocities that have been relentlessly and mercilessly inflicted upon West Bank Palestinians in the Masafer Yatta region. This collection of approximately 20 small villages was summarily seized by the Israeli government (with the blessing of its courts after a 22-year litigation battle) to develop it as a training ground for tank regiments, an undertaking that has involved the demolition of existing structures and the displacement of the area’s residents, some of whose families had occupied their land for nearly 200 years. Many of those who resisted were forcibly removed, imprisoned or subjected to the heartless, uncompromising wrath of Israeli troops, responses involving bald-faced hatred, severe injury and even death. To make matters worse, the displaced have often had nowhere to go in the wake of these actions, some being forced to live in caves in the adjacent mountains. To be sure, locals have consistently fought back, and some have even attempted to defiantly rebuild the homes and schools they have lost, only to have their hopes dashed by subsequent rounds of sanctioned destruction. It should be noted, as indicated above, that these actions predate the Hamas attacks, so not even retribution can be used as a convenient or “justifiable” excuse for these actions. In light of that, then, can those who profess to be humanitarians realistically call themselves by that name in the wake of an immoral tragedy like this, no matter how much its execution may have been declared legally permissible? Indeed, where is the compassion, the fairness, the justice? This on-the-ground account of events unflinchingly documents this horrific situation, an inexcusable exercise in overreach between the two factions, one that’s impossible to rationalize in the face of vastly uneven odds and especially when the real, previously undisclosed basis behind this land grab is disgracefully revealed. This scathing chronicle, primarily filmed by Palestinian activist Adra and Israeli investigative journalist Abraham, shows the degree of atrocity that has been unleashed in the area, as well as what’s conceivably possible when individuals from two opposing backgrounds begin working cooperatively to expose what’s happening and to concertedly look for a workable solution to stop this inhumane, indefensible madness. “No Other Land” is not an easy watch by any means (sensitive viewers take note), particularly in light of its graphic depictions of violence (some of which, in all honesty, become somewhat repetitive after a while, what some might arguably characterize as overkill). Nevertheless, this Oscar nominee for best documentary feature shines a very bright light on this wholly unacceptable act of barbarity, one that any supposedly civilized society should be completely ashamed of, especially now that the whole world is watching.