Page - 112 - in JRFM - Journal Religion Film Media, Volume 05/01

(fig. 1), and a settler, a woman from an Israeli settlement in the West Bank who has been the victim of an attack. The stories, experiences and parallel realities of each section are connect- ed to one another and they often contradict or subvert one another.21 Gitai’s capsulated narrative reveals the space of different and parallel realities. Here his style is different from that of Ana Arabia, filmed in one continuous shot to create the space of togetherness. All the conversations with communities and people are filmed in open space or move through space. Furthermore, Gitai’s shot of the land makes space central also as a geographical and cultural-political space (fig. 2). Gitai takes the film back to where he started it – he brings us back to Yitzhak Rabin and the year 1994 (Part 18: “Yitzhak Rabin 1994”). The interview con- tinues: “I would like to see a reality less violent”, states Rabin, warning that two obstacles must be removed – hatred of Israel and economic and social dis- tress. For Rabin the main idea is “to strive for peace” and “avoid creating a reality which serves as fertile ground for the extremists to flourish”. For Rabin peaceful coexistence is possible, and the main principle of Rabin’s political pro- gramme is “to create a new environment – a new reality”. This part finishes with a fade out and the sound of gun shots – the assassination of Rabin. In the very last part of the film (Part 19: “Backgammon Tournament”) Gitai brings us 21 “Judaism’s greatness is shown in justice and law. But here, as Isaiah said, a great injustice has been committed”, West of the Jordan River (Amos Gitai, IL/FR, 2017), 01:09:56–01:10:07. Fig. 1: Bedouin School. Film still, West of the Jordan River (Amos Gitai, IL/FR 2017), 01:07:54. 112 | Milja Radovic www.jrfm.eu 2019, 5/1