A car drives along a road. On the road there is a fence, which causes the car to stop. The camera looks secretively through the barbed wire to the other side of the fence that is being watched by the military. We are not allowed there and we are not allowed to see what we see. A woman is on her way to a man. On the way she telephones him and he turns out to be on the other side of the fence. He says to her "What we are doing, is happening in a world so strange for you that even if I were to tell you, you wouldn't understand it. So it's better for you if you stay in your own reality". The border between knowing and not knowing, seeing and not seeing, between her and the other, between one side of the fence and the other is put into words here by this man. He is from the military, stationed on the border between Israel and Lebanon. She would like to remove the division and cross the border with him. What is there, and what is he doing on the other side of the fence? She sees a car driving past and waving people. The landscape is continuous and birds can fly from one side to the other. Like the birds, she is merely passing through on her side of the fence. But her freedom is also a border and means that she is neither a participant of what is going on around her, nor can she pass to the other side of the fence. She can only drive along the fence and watch what is happening. See how both sides watch each other, hear how frightened he is, feel something of what is going on there. Knowing that things can change in seconds, not months, she drives through the country. However, she is not part of the landscape of the others who are tied to the two sides of the fence in a ‘no winning game’. Will he come back from the other side of the border this time again?
– Carla Hoekendijk
|
Camera Ofer Harrary, Yoav Dagan, Eitom Harris, Noam Teich, Hi-8 camera Michal Rovner, Brig. General G., Sound design Jane Stewart, Alex Claude, Editing Dan Itzhaky, Production -assistant Yonatan Raz, translation Madeleine Ali, Lee Ehrlich, With (special) dank aan Giora Inbar, Bohen Foundation, Michael Caddell, Cynthia Chapman
|
|
1 9 9 7 
