OMAR *** 1/2

Omar, produced independent of state financing is more ambitious and angry, a love story that simply cannot exist within a binary.

Omar, 93 minutes, director: Hany Abu-Assad, *** 1/2 of 4 stars

A superb thriller Omar is an entertaining and disturbing look at life in the occupied West Bank from the perspective of Palestinian director Hany Abu-Assad (Paradise Now). Adam Bakri stars at the film’s title character, a Palestinian baker who sneaks across the established barriers to visit with Nadia (Leem Lubany, in her first role). Nadia is a high school student, brother of Tarek (Eyad Hourani), a powerful force in the neighborhood. Omar, using Parkuor skills has become adept at evading the Israeli-divisions that serve as a constant reminder of the occupation. (Although less intrusive, I imagine a great story could be told about the DHS checkpoints that run some 70-miles north of the US-Mexico border…not to get all libertarian here).

Abu-Assad is a skilled storyteller, here presenting some beautifully shot visuals it evolves towards a kind of action movie as the cat has created a mouse by way of the occupation, complicating peace. Omar himself embodies that contradiction: a potentially peaceful man who is forced into violence and betrayal ultimately in the name of freedom. Social realism doesn’t get much more exciting – Omar is either a freedom fighter or a terrorist, although I propose he’s a victim of circumstance. Adam Bakri gives a first rate performance as a young man born into a system beyond the binary good and evil.

He’s captured and imprisoned by the Israeli military for a successful attack on a soldier. While in prison his handler –a family man whom is frustrated he’s been dispatched to the West Bank, Agent Rami (Waleed F. Zuaiter) promises him freedom in exchange for Tarek’s head. Rami although may or may not have the evidence to keep Omar locked up. Instead he’s set free on the condition he can deliver, leading to a double cross and a return to the detention. Omar, the freedom fighter plays both sides, ultimately though he remains – from one perspective anyways – unchanged. The ending like many films from this region is rather abrupt, reflecting a powerful reality. A straightforward comedy, romance, or drama from Israel or Palestine seems impossible, even those that try to remove politics revert back to the reality of danger. These include Dover Kosashvili’s Late Marriage, a comedy rooted in social issues ending in violence and Eytan Fox’s politically confused comedy The Bubble, told from the perspective of Tel Aviv’s hipsters.

Israel cinema, sometimes state sponsored allows for reflection and even criticism, which is rather remarkable and brave. Omar, produced independently is even more ambitious and angry, a love story that simply cannot exist within a binary.