This article examines the evolving landscape of Palestinian women’s filmmaking in light of the recent escalation of the Israel–Hamas war, focusing on the conflict’s impact on film production and cultural infrastructure. By examining the production trajectories of two feature films, Annemarie Jacir’s Palestine 36 (2025) and Cherien Dabis’s All That’s Left of You (2025), as well as the work of Shashat Woman Cinema, an organization supporting women’s cinema in Gaza and the West Bank, it explores how filmmakers navigate extreme political and logistical challenges to assert narrative agency. Tracing a lineage from revolutionary documentary traditions to contemporary narrative fiction, it highlights how Palestinian women filmmakers confront occupation, censorship, and displacement by centring female subjectivity, memory, and resistance. Taken together, the work of these filmmakers constitutes a radical act of self-representation, as both the filmmakers and their protagonists grant themselves “permission to narrate” as Palestinians in a media landscape that often erases or distorts their voices.
Myrto Provida (Wed,) studied this question.