TEHRAN- Amid the devastation of war and displacement, Gaza has given birth to an extraordinary act of cultural resilience — the First Gaza International Women’s Film Festival. Founded by Ezzedine Shallah, a Palestinian filmmaker and researcher, the festival brings together 79 films from 28 countries, celebrating women’s voices through cinema even as bombs fall and cities crumble.

Organized in a displacement camp using a small home television and a generator for power, the event symbolizes Gaza’s unwavering commitment to art and life. In this exclusive interview, Shallah speaks to Tehran Times about founding the festival under siege, women’s cinematic resistance, and the power of storytelling amid destruction.

The following is the text of the interview:

What inspired the creation of the Gaza International Women’s Film Festival, especially amid such dire humanitarian circumstances?

Amid the genocide we are living through in Gaza, I am myself displaced in a refugee camp. There, I met many women who had lost their husbands, sons, or sole providers — women suddenly left to face life alone. From their stories, the idea was born: to empower women through cinema, to help them become filmmakers who tell women’s stories through their own eyes.

The festival — the Gaza International Women’s Film Festival — emerged directly from the pain, displacement, and destruction surrounding us. These harsh realities gave birth to the idea. As the Palestinian novelist Ghassan Kanafani once said, “It is not important to die before realizing your idea, but it is important to have a noble idea before you die.”

The blockade did not stop us; in fact, it was the very reason we created this space. When the world closes in, art becomes our only window to speak and to survive.

Many describe art and cinema as forms of resistance. How do you see the contribution of Palestinian women filmmakers to cultural resistance through this festival?

Art and cinema are powerful forms of soft resistance. They allow us to reach international audiences in ways that weapons or politics never can.

In Gaza, amid genocide, there are thousands of untold stories waiting to be captured on film. We are currently training 20 young women from Gaza to become filmmakers. Each training cycle produces five films, which premiere at the festival and later participate in international festivals.

Through these films, the world learns about the realities faced by Palestinian women — their pain, resilience, and humanity. These stories serve as living testimonies that reveal the truth of what the occupation inflicts on our people. In this sense, cinema becomes both a cultural act and a form of resistance.

What logistical and psychological challenges did your team face in organizing a film festival in Gaza under bombardment, displacement, and communication blackouts? How did you overcome them?

The challenges were immense — both logistical and emotional. There was no electricity, no functioning cinema screen. The large screen we used in the past was destroyed when the Israeli army bombed the center for people with disabilities that housed it.

After searching endlessly, we finally had to use a small 55-inch home television. For those sitting far away, it was difficult to see, but we made it work. Since there was no power, we rented a generator, which required fuel — almost impossible to find. After much effort, we managed to get some diesel.

Imagine the hum of the generator blending with the sound of the film. Yet, the displaced people in the camp kept watching, as if the story on the screen was louder than the machine.

Because all cultural venues in Gaza had been destroyed, including the Rashad Al-Shawa Cultural Center where we used to hold festivals, we screened the films in a displacement camp — between tents and rubble.

We even considered holding the festival’s opening among the ruins of the Shawa Center, but by the next morning, the area was filled with tents for displaced families. So, we laid out our red carpet between the tents and debris.

Our opening film was “The Voice of Hind Rajab”, winner of the Silver Lion at the Venice Film Festival — its first screening in the Arab world took place at our festival, right there in a refugee camp.

How do the participating films portray the daily reality of Palestinian women — not only their suffering, but also their creativity, resilience, and influence?

Since the very beginning of the Palestinian struggle, women have been active participants — steadfast, patient, and creative. They tell their stories with depth and symbolism, revealing their truths through artistry rather than direct reportage.

Cinema is not a news bulletin; it’s a poetic, emotional, and deeply human form of storytelling.

What distinguishes women’s cinematic narratives in Gaza from those told by men or by outsiders documenting the conflict?

There is a profound difference between the perspectives of Palestinian women filmmakers and others. When a woman tells a woman’s story, she captures emotional layers and realities that often go unseen.

Palestinian women directors approach their subjects with boldness and creativity, offering a sensitivity and insight that brings authenticity to their work.

Has the festival received any support, recognition, or solidarity from international filmmakers or cultural institutions?

Yes, the festival has been met with great solidarity and support from international filmmakers and institutions. Among them are German director Monika Maurer, French director Céline Sciamma, and Italian actress Celine Trinca.

We also received support from several international and Arab organizations — some even joined our founding committee and contributed directly. These include the European Women’s Audiovisual Network, the Florence Film Festival, and many others.

Their involvement has encouraged us immensely and strengthened our belief that cinema can build bridges even amid destruction.

With much of Gaza’s cultural infrastructure destroyed, what does it mean to hold a film festival under these conditions? Can cinema survive and grow under siege?

When cultural life is destroyed, we face two choices: either surrender to death, or resist it.

Cinema means life — and life must confront death.

Holding a festival here is an act of defiance and a declaration that creativity cannot be killed.

Do you believe that Western media and the global film industry have failed to reflect the true lives of Palestinian women? How can your festival help change that narrative?

Yes, Western media and film have long misrepresented not only Palestinians but Arabs in general — often portraying us in unrealistic and dehumanizing ways.

Through the Gaza International Women’s Film Festival, we aim to bring truth to light. Over time, this will make an impact. The festival is part of a broader cultural movement alongside Palestinian filmmakers, artists, and musicians — all telling the Palestinian story in their own ways.

Together, we form a collective voice that, little by little, can reshape how the world sees us.

What message would you like to send — through this festival — to a global audience that may only see Gaza through the lens of destruction and despair?

We are a people who love life — who believe that life will always triumph over death.

For our own people, the festival offers a glimmer of hope amid the rubble — a reminder that beauty and art still exist, that tomorrow can be brighter.

To the world, we say: despite the killing, the devastation, and the siege, we are still here.

Through cinema, we declare our existence and our resilience.

We are here — and we are staying on this land.