At its heart a quiet love story, the darkly comic film — in both the Venice and Toronto lineups — revolves around the real-life absurdist tale of an ancient Greek statue found in Gazan waters.
In 2013, a fisherman from Gaza netted a 2000-year-old statue of the ancient Greek god Apollo from the waters near the Egyptian border. Sensing the opportunity to drag themselves out of destitution, the fisherman’s family put the 300kg bronze relic on eBay for $500,000, only for the ruling Hamas authorities to confiscate it for themselves. Statue fingers were reportedly severed and allegations were fired back and forth about its authenticity.
“Essentially, it’s a love story. We’ve used the statue to tell this love story, which is far more important for us,” says Arab Nasser. “People have talked about Hamas, about Israel, about war, even about fishing in Gaza, for a long, long time, but why not talk about a love story? This is our way of making a film which is nearer to the people than the politics.
“You can’t escape the politics,” says Tarzan. “There’s no option to ignore it and there’s no story in Palestine or Gaza that not linked to it directly or indirectly. But we try as much as we can to focus on this love story more than on politics.”, particularly Issa, with daily survival the main objective. “It’s exactly like that now, there is no horizon, but we have to continue living,” says Tarzan.
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