Habibi Hussein recenzija: Istinski junak palestinskog filma Jenin konačno dobija svoju priču

In 2011, a documentary titled Cinema Jenin: The Story of a Dream captured the efforts of German activist and filmmaker Marcus Vetter to restore a long-abandoned cinema in the West Bank town of Jenin. The film highlighted Vetter’s dedication to reviving cultural spaces for Palestinians living under occupation, showcasing his collaboration with local communities and the training of residents in cinematic techniques. However, the documentary also inadvertently overlooked the central figure behind the restoration effort, Hussein Darbi, the 59-year-old projectionist whose decades of work at the cinema went unrecognized. Darbi, who had been employed at the Palestinian cinema since his teenage years, played a crucial role in bringing the facility back to life. Despite his indispensable knowledge of vintage equipment and projection systems, he was often sidelined by the foreign activists leading the project. These individuals, including Vetter, frequently dismissed his expertise, treating him as an obstacle rather than an essential collaborator. Darbi, however, remained steadfast in his belief that he understood the machinery better than anyone else and insisted on being compensated for his labor, a demand that was met with skepticism by the international team. Filmmaker Alex Bakri, who served as an assistant on the documentary, documented these dynamics throughout the production. His camera captured the quiet dignity of Darbi, who moved with a slight limp and spoke in clipped, confident tones despite a mild speech impediment. Bakri noted that Darbi’s presence was almost mythic, he was a man of singular skill and unwavering commitment, yet he remained in the shadows of the film’s main narrative. Bakri recognized that Darbi’s story deserved to be told, not just as a footnote but as the heart of the project itself. The restoration process was fraught with challenges. One of the earliest breakthroughs came when Darbi discovered a functioning projector hidden within the boarded-up cinema. After weeks of meticulous repair, he realized that the device required a rare component, a carbon rod that had long since fallen out of use. Determined to succeed, Darbi embarked on a journey across the West Bank, visiting former cinemas and consulting with retired projectionists, until he finally located someone who could provide the necessary part. When the projector finally lit up, casting its first image onto the screen, it marked a moment of profound emotional significance for all involved. Yet, despite his technical mastery, Darbi’s contributions were often ignored or downplayed. The foreign activists, who framed their efforts as acts of altruism, frequently expressed condescension toward the local population, reinforcing a narrative that positioned them as saviors. They claimed to be helping the community, but their actions often contradicted this ideal. When crises arose, such as the arrival of a new projector without lenses, the activists turned to Darbi, recognizing his deep understanding of the equipment. Yet, when bureaucratic hurdles prevented him from acquiring the missing parts, they opted instead to import the components themselves, attributing the success to their own intervention. The film’s final scenes depict a poignant moment of disillusionment. Darbi, having given everything to preserve the cinema, is ultimately excluded from the credit he so richly deserves. His story, though quietly powerful, remains untold in the official version of the project. It is only through Bakri’s independent filmmaking that Darbi’s legacy begins to emerge, offering a counter-narrative to the dominant Western perspective that often overlooks the voices of those who have dedicated their lives to preserving cultural heritage. As the film concludes, the restored cinema stands as a symbol of resilience and perseverance. But it also serves as a reminder of the complexities of cultural revival, where the contributions of local custodians are often overshadowed by external narratives. The true hero of this story, Hussein Darbi, continues to remain in the background, his story waiting to be fully acknowledged.