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คำพูดนี้คือชอบมาก ไม่ว่ากี่ปีก็ยังชอบอยู่ — Closer (2004)
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คำพูดนี้คือชอบมาก ไม่ว่ากี่ปีก็ยังชอบอยู่ — Closer (2004)

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- هل مازلت تحبني؟ Closer | 2004
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هل ما زلت تحبني ؟ Closer (2004)
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He still cheated on her ……watch till the end👀 🎬 Closer (2004)
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He still cheated on her ……watch till the end👀 🎬 Closer (2004)

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Objects in side-view knives are closer than they appear. Film: KUNG FU HUSTLE (2004)
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Linkin Park performing "One Step Closer" with Jonathan Davis of Korn during Projekt Revolution in Camden, New Jersey (2004)
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Linkin Park performing "One Step Closer" with Jonathan Davis of Korn during Projekt Revolution in Camden, New Jersey (2004)

crazy ass moments in nu metal history

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No matter how many years pass Linkin Park- One Step Closer at Rock Am Ring 2004 will always be iconic
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Bryan

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Love isn't gentle in this film. It is sharp, selfish and devastatingly honest! This movie isn't about love, it's about exposure. 🎬 Closer (2004)
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Love isn't gentle in this film. It is sharp, selfish and devastatingly honest! This movie isn't about love, it's about exposure. 🎬 Closer (2004)

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" إذا كنت تؤمن بالحب من النظرة الأولى فإنك لن تتوقف عن النظر أبدا·" Closer 2004 في فيلم Closer كان اداء النجمة نتالي بورتمان اسطوريا فلقد استطاعت بكل براعة واقتدار ان تتقمص شخصية الشابة التي تشعر بالصدمة وخيبة الأمل والاحباط والجرح العميق الذي يفقدها اتزانها النفسي لتودع عواطفها وتغلق قلبها الى الأبد.
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" إذا كنت تؤمن بالحب من النظرة الأولى فإنك لن تتوقف عن النظر أبدا·" Closer 2004 في فيلم Closer كان اداء النجمة نتالي بورتمان اسطوريا فلقد استطاعت بكل براعة واقتدار ان تتقمص شخصية الشابة التي تشعر بالصدمة وخيبة الأمل والاحباط والجرح العميق الذي يفقدها اتزانها النفسي لتودع عواطفها وتغلق قلبها الى الأبد.

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"Are you chewing gum?" I love Sideways (2004); it gets even better when you realise Paul Giamatti had basically zero wine knowledge and doesn’t drink IRL. So in this scene, he’s closer to Jack (Thomas Haden Church) than Miles (himself). When he sticks his finger in his ear 🤣
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"Are you chewing gum?" I love Sideways (2004); it gets even better when you realise Paul Giamatti had basically zero wine knowledge and doesn’t drink IRL. So in this scene, he’s closer to Jack (Thomas Haden Church) than Miles (himself). When he sticks his finger in his ear 🤣

The Sting

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State polls currently show a closer electoral college finish than final polls showed for any campaign in 50+ years. Yes, even tighter than final polls had for 2000 or 2004. Key states: MI, PA, & WI polls all within a point. Final polls in them haven't been so close in 50+ years
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State polls currently show a closer electoral college finish than final polls showed for any campaign in 50+ years. Yes, even tighter than final polls had for 2000 or 2004. Key states: MI, PA, & WI polls all within a point. Final polls in them haven't been so close in 50+ years

(((Harry Enten)))

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Why does this feel like a breakup I never had? CLOSER (2004), directed by Mike Nichols and written by Patrick Marber (based on his award-winning play of the same name). The film earned two nominations at the 77th Oscars: Actress in a Supporting Role (Natalie Portman) and Actor in a Supporting Role (Clive Owen).
0:29

Why does this feel like a breakup I never had? CLOSER (2004), directed by Mike Nichols and written by Patrick Marber (based on his award-winning play of the same name). The film earned two nominations at the 77th Oscars: Actress in a Supporting Role (Natalie Portman) and Actor in a Supporting Role (Clive Owen).

The Academy

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Funny how LeBron fans won’t call LeBron’s first 12 seasons “plumbers” or “not skilled” era. Interesting video of guy showing how much different the game was in 2011 vs today. It basically shows how 2000’s and early 2010’s basketball is far closer to 90’s NBA than today. He points out all the non shooters in the floor, lack of spacing, etc. Even shows a clip of LeBron driving to the basket but finding no space to shoot with 3 guys around him and only a subpar shooter to pass it too. But based on LeBron fan logic, today’s players are just far more skilled than 2004-2014 so the top players today must be better than peak LeBron.
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Funny how LeBron fans won’t call LeBron’s first 12 seasons “plumbers” or “not skilled” era. Interesting video of guy showing how much different the game was in 2011 vs today. It basically shows how 2000’s and early 2010’s basketball is far closer to 90’s NBA than today. He points out all the non shooters in the floor, lack of spacing, etc. Even shows a clip of LeBron driving to the basket but finding no space to shoot with 3 guys around him and only a subpar shooter to pass it too. But based on LeBron fan logic, today’s players are just far more skilled than 2004-2014 so the top players today must be better than peak LeBron.

SportsStatsFan

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Eagles/Falcons 2004 NFC Championship: McNabb and Reid Finally Break Through: After three straight NFCCG losses, the #1 seeded Eagles were back for a 4th time only this game was vs a young Michael Vick and the Falcons. The defense set the tone early, sacking Vick 4 times, while McNabb and the run game powered a 14–3 1st half lead with TDs from Dorsey Levens and Chad Lewis. Atlanta briefly cut it to 14–10, but it never got closer. The Eagles’ defense slammed the door, led by Brian Dawkins whose iconic hit on Alge Crumpler set the tone for the game and he capped it with a late INT. McNabb hit Chad Lewis for his second TD and that was the final exclamation point, winning 27–10. The NFCCG losing streak is over and the cities first Super Bowl trip since 1980.
5:21

Eagles/Falcons 2004 NFC Championship: McNabb and Reid Finally Break Through: After three straight NFCCG losses, the #1 seeded Eagles were back for a 4th time only this game was vs a young Michael Vick and the Falcons. The defense set the tone early, sacking Vick 4 times, while McNabb and the run game powered a 14–3 1st half lead with TDs from Dorsey Levens and Chad Lewis. Atlanta briefly cut it to 14–10, but it never got closer. The Eagles’ defense slammed the door, led by Brian Dawkins whose iconic hit on Alge Crumpler set the tone for the game and he capped it with a late INT. McNabb hit Chad Lewis for his second TD and that was the final exclamation point, winning 27–10. The NFCCG losing streak is over and the cities first Super Bowl trip since 1980.

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The last "modern" game I ever played was World of Warcraft, from 2004 to 2010, the end of Wrath of the Lich King. I know there were MMORPGs before (and after), but when the original World of Warcraft launched in 2004, it felt closer to "perfection" than any game before or since. Nothing has changed that feeling to this day. What changed was the game itself after the death of Arthas in Wrath of the Lich King. The original WoW felt so vast, so open, and so alive - it’s hard to put into words. There was no min-maxing yet, no speedruns, no parsing records, no gear score requirements. If you were really "pro," you connected with friends or guildies via Ventrilo. There was no WeakAuras, no threat meters, no Questie guiding you. You quickly learned that even the most expensive vendor gear was trash compared to quest rewards. You had to walk from Elwynn Forest to the Redridge Mountains - and if you dared peek across the river into Duskwood, the spiders there would one-shot you (I’m sure we all did that). The first time you equipped a green item! The first time you swapped it for a blue! And the envy of seeing someone with purple gear, omg! Saving up for a mount and the catharsis when you could finally afford one! The first time you entered the Deadmines, the foolish solo attempt on Hogger only to realize instantly it was a death sentence, stepping into Alterac Valley battlegrounds and being in awe of its size, wiping on Ragnaros again and again before finally killing him, and the sheer joy of celebrating together with your guild. The excitement and awe of entering Naxxramas for the first time, struggling to down Patchwerk, the teamwork, the slow progress, seeing Sapphiron dead on the frozen ground and being moments away from Kel’Thuzad… so close! It truly felt like a massive world - not just in size, but in stories. The announcement of The Burning Crusade and the Dark Portal appearing in the Blasted Lands; you couldn’t wait to walk through it. Then the ultimate climax when Wrath of the Lich King launched, eventually facing the most badass character in gaming history: Arthas. World of Warcraft was magic. Until it wasn’t. Just like Blizzard was once the greatest game studio of all - until they weren’t. Warcraft used to be tough, glorious and epic... now it's pink Disney fluff. Nothing has recaptured that feeling from 2004 to 2010. I wonder if anything ever will again. I sometimes watch the trailer of the original WoW. It still hits close to the (gamer) heart…
2:10

The last "modern" game I ever played was World of Warcraft, from 2004 to 2010, the end of Wrath of the Lich King. I know there were MMORPGs before (and after), but when the original World of Warcraft launched in 2004, it felt closer to "perfection" than any game before or since. Nothing has changed that feeling to this day. What changed was the game itself after the death of Arthas in Wrath of the Lich King. The original WoW felt so vast, so open, and so alive - it’s hard to put into words. There was no min-maxing yet, no speedruns, no parsing records, no gear score requirements. If you were really "pro," you connected with friends or guildies via Ventrilo. There was no WeakAuras, no threat meters, no Questie guiding you. You quickly learned that even the most expensive vendor gear was trash compared to quest rewards. You had to walk from Elwynn Forest to the Redridge Mountains - and if you dared peek across the river into Duskwood, the spiders there would one-shot you (I’m sure we all did that). The first time you equipped a green item! The first time you swapped it for a blue! And the envy of seeing someone with purple gear, omg! Saving up for a mount and the catharsis when you could finally afford one! The first time you entered the Deadmines, the foolish solo attempt on Hogger only to realize instantly it was a death sentence, stepping into Alterac Valley battlegrounds and being in awe of its size, wiping on Ragnaros again and again before finally killing him, and the sheer joy of celebrating together with your guild. The excitement and awe of entering Naxxramas for the first time, struggling to down Patchwerk, the teamwork, the slow progress, seeing Sapphiron dead on the frozen ground and being moments away from Kel’Thuzad… so close! It truly felt like a massive world - not just in size, but in stories. The announcement of The Burning Crusade and the Dark Portal appearing in the Blasted Lands; you couldn’t wait to walk through it. Then the ultimate climax when Wrath of the Lich King launched, eventually facing the most badass character in gaming history: Arthas. World of Warcraft was magic. Until it wasn’t. Just like Blizzard was once the greatest game studio of all - until they weren’t. Warcraft used to be tough, glorious and epic... now it's pink Disney fluff. Nothing has recaptured that feeling from 2004 to 2010. I wonder if anything ever will again. I sometimes watch the trailer of the original WoW. It still hits close to the (gamer) heart…

exQUIZitely 🕹️

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FOR THOSE WHO ARE CONFUSED… We experience TIME as a straight line, one moment after another, PAST TO PRESENT TO FUTURE. But that is only how it appears from inside the system. Beings in higher dimensions, what some call “ORACLES” OR “GODS,” do not experience time like this. They do not move through it. They observe it in its entirety. A closer analogy would be CHANNELS ON A SCREEN. What is playing on FOX and what is playing on CBS is not separate in existence, it is only separated by perspective. Both are happening at the same time, fully active, fully real. In the same way, what we call 1950 and what we call 2004 are not distant points moving away from each other. They are both present within the same total field of reality. From that level of awareness, nothing is being “waited on.” There is NO DELAY. There is only ACCESS. A shift of perception is all that is needed, like changing the channel. So if everything exists at once, then your FUTURE is not something that is coming toward you. It is something that already exists. The version of you 20 YEARS FROM NOW is already there. You have already CHOSEN THAT PATH, you have already GONE THROUGH WHAT COMES WITH IT, you have already LIVED THROUGH IT ALL. And what you are doing now is not creating it. You are MOVING THROUGH IT. Slowly remembering why you are there at all.
0:23

FOR THOSE WHO ARE CONFUSED… We experience TIME as a straight line, one moment after another, PAST TO PRESENT TO FUTURE. But that is only how it appears from inside the system. Beings in higher dimensions, what some call “ORACLES” OR “GODS,” do not experience time like this. They do not move through it. They observe it in its entirety. A closer analogy would be CHANNELS ON A SCREEN. What is playing on FOX and what is playing on CBS is not separate in existence, it is only separated by perspective. Both are happening at the same time, fully active, fully real. In the same way, what we call 1950 and what we call 2004 are not distant points moving away from each other. They are both present within the same total field of reality. From that level of awareness, nothing is being “waited on.” There is NO DELAY. There is only ACCESS. A shift of perception is all that is needed, like changing the channel. So if everything exists at once, then your FUTURE is not something that is coming toward you. It is something that already exists. The version of you 20 YEARS FROM NOW is already there. You have already CHOSEN THAT PATH, you have already GONE THROUGH WHAT COMES WITH IT, you have already LIVED THROUGH IT ALL. And what you are doing now is not creating it. You are MOVING THROUGH IT. Slowly remembering why you are there at all.

THE VOICE 🌹 🗣🎙🇺🇸🦅🌎⚓💜♠️CHRIST CONSCIOUSNESS

40,362 görüntüleme • 1 ay önce

Revealed: Sadiq Khan's disturbing connections to Muslim extremists Khan portrays himself as soft centre-left Labour. How can that be squared with his support for, & defence of radical Muslim extremists, anti-Semites & misogynists? Khan defended the vile Muslim scholar Dr Yusuf Al-Qaradawi, saying "he is not the extremist that he is painted as being." Really? Al-Qaradawi justifies wife beating, discusses whether homosexuals should be killed and supports suicide bombers. In 2004 Khan was on a platform with five Islamic extremists at a conference in London organised by Al-Aqsa, a group that has published works by the notorious Holocaust denier Paul Eisen. From 2001-2002, Khan was a solicitor for the despicable "Nation of Islam" and tried to overturn the travel ban preventing its appalling leader, Louis Farrakhan, from entering the UK. Louis Farrakhan is a rampant anti-Semite who combines black power with Islam. Farrakhan has described Jews as ‘blood-suckers’ and called Hitler ‘a very great man’ In 2006, when Khan was an MP, Khan was one of the signatories of a letter to the Guardian that blamed terrorist incidents, such as 7/7, not on Islamic extremism but on British foreign policy and Britain's support for Israel. Khan likes to portray himself as part of the soft centre Left of politics, a fuzzy progressive. In truth he is far closer to Jeremy Corbyn and the independent Muslim vote MPs. Remember Khan nominated Corbyn for the leadership contest in 2015. And Khan wouldn’t have won the election without the support of Corbyn’s allies, including Len McCluskey, the unions and Momentum – the radically far-left organisation that got the vote out for him. No surprise either that his biggest cheerleaders are other far left radicals like Owen Jones, Dianne Abbott and Dawn Butler.
4:12

Revealed: Sadiq Khan's disturbing connections to Muslim extremists Khan portrays himself as soft centre-left Labour. How can that be squared with his support for, & defence of radical Muslim extremists, anti-Semites & misogynists? Khan defended the vile Muslim scholar Dr Yusuf Al-Qaradawi, saying "he is not the extremist that he is painted as being." Really? Al-Qaradawi justifies wife beating, discusses whether homosexuals should be killed and supports suicide bombers. In 2004 Khan was on a platform with five Islamic extremists at a conference in London organised by Al-Aqsa, a group that has published works by the notorious Holocaust denier Paul Eisen. From 2001-2002, Khan was a solicitor for the despicable "Nation of Islam" and tried to overturn the travel ban preventing its appalling leader, Louis Farrakhan, from entering the UK. Louis Farrakhan is a rampant anti-Semite who combines black power with Islam. Farrakhan has described Jews as ‘blood-suckers’ and called Hitler ‘a very great man’ In 2006, when Khan was an MP, Khan was one of the signatories of a letter to the Guardian that blamed terrorist incidents, such as 7/7, not on Islamic extremism but on British foreign policy and Britain's support for Israel. Khan likes to portray himself as part of the soft centre Left of politics, a fuzzy progressive. In truth he is far closer to Jeremy Corbyn and the independent Muslim vote MPs. Remember Khan nominated Corbyn for the leadership contest in 2015. And Khan wouldn’t have won the election without the support of Corbyn’s allies, including Len McCluskey, the unions and Momentum – the radically far-left organisation that got the vote out for him. No surprise either that his biggest cheerleaders are other far left radicals like Owen Jones, Dianne Abbott and Dawn Butler.

Rafe Heydel-Mankoo

201,577 görüntüleme • 9 ay önce

This week, Joe Rogan and Paul Rosolie (two of my favs) had a convo slamming NFTs and crypto. You should listen. Here's why: As someone who coauthored a best selling book about the business applications of NFTs, I understand their skepticism. In fact, I hear this POV from businesses and people outside of the Web3 ecosystem somewhat frequently. There's a knowledge gap when it comes to crypto, NFTs, and the blockchain in general. People who love early stage technology need to hear conversations like this so we can respond with empathy and eduction. Much of the world thinks NFTs are overpriced pictures you can "right click and save," without understanding the applications of credentials, ticketing, gaming assets, loyalty programs, the ability to combat deep fakes, connected clothing, proof of ownership/authenticity for physical products, and more. There were times when credit cards, video games, online banking, cell phones, and even the internet itself, were considered niche products without scalability. New technology is almost always met with skepticism and resistance, and here's the thing we need to be intellectually honest and admit... ...much of the criticism is fair. There WAS an early gold rush and speculative bubble for NFTs. There IS a tech and cost barrier associated with Web3. There WERE and ARE scammers who take advantage of people in crypto. Just as there was, and still, with email, cell phones, and other iterations of technology. But, as someone who was relatively early to Web1 (coding websites in middle school in the mid 90's) and Web2 (Facebook in 2004), there's no doubt in my mind Web3 is the next phase of the internet. Digital ownership matters, and the more education we can get to the right people, the closer we can get to having them understand what this technology can truly do for the world.
5:18

This week, Joe Rogan and Paul Rosolie (two of my favs) had a convo slamming NFTs and crypto. You should listen. Here's why: As someone who coauthored a best selling book about the business applications of NFTs, I understand their skepticism. In fact, I hear this POV from businesses and people outside of the Web3 ecosystem somewhat frequently. There's a knowledge gap when it comes to crypto, NFTs, and the blockchain in general. People who love early stage technology need to hear conversations like this so we can respond with empathy and eduction. Much of the world thinks NFTs are overpriced pictures you can "right click and save," without understanding the applications of credentials, ticketing, gaming assets, loyalty programs, the ability to combat deep fakes, connected clothing, proof of ownership/authenticity for physical products, and more. There were times when credit cards, video games, online banking, cell phones, and even the internet itself, were considered niche products without scalability. New technology is almost always met with skepticism and resistance, and here's the thing we need to be intellectually honest and admit... ...much of the criticism is fair. There WAS an early gold rush and speculative bubble for NFTs. There IS a tech and cost barrier associated with Web3. There WERE and ARE scammers who take advantage of people in crypto. Just as there was, and still, with email, cell phones, and other iterations of technology. But, as someone who was relatively early to Web1 (coding websites in middle school in the mid 90's) and Web2 (Facebook in 2004), there's no doubt in my mind Web3 is the next phase of the internet. Digital ownership matters, and the more education we can get to the right people, the closer we can get to having them understand what this technology can truly do for the world.

Steve 🤙

50,123 görüntüleme • 1 yıl önce

Another Extraordinarily Rare Paletinian Docu Film "Arna's Children" (2004) – A Profound Tribute to Resistance in All Its Forms 📑🔖Bookmark and share if possible, these film are critical viewing - Jenin, Jenin (2002) in link My Review As someone deeply committed to the Palestinian cause and a firm believer in the legitimacy—and divine beauty—of armed resistance against occupation, I recently revisited Arna's Children (2004), directed by Juliano Mer Khamis, at a screening along with friends as part of a project they're working on. This documentary remains one of the most powerful and unflinching portrayals of Palestinian life under siege, and it resonates even more strongly today. The film follows Arna Mer-Khamis, a Jewish Israeli woman who turned her back on her Zionist upbringing to stand with the oppressed. After marrying a Palestinian and witnessing the horrors of displacement and occupation, she founded a children's theatre and alternative education program in the Jenin refugee camp during the First Intifada. When schools were shut down, Arna created a space for kids to express rage, fear, and dreams through drama and play—channelling their trauma into creative defiance. Juliano, her son (with one foot in both worlds), captured those joyful, fiery workshops from 1989 to 1996: children laughing, performing, imagining futures beyond the checkpoints and demolitions. It's a beautiful testament to how art can nurture dignity and resistance even in the darkest conditions. But the heart of the film—and what makes it so raw—is what happens next. After Arna's death from cancer, Juliano returns to Jenin in 2002, amid the ruins of the massive Jewish invasion that destroyed much of the camp, including the theatre she built. The bright boys he once directed have become young men forged by endless humiliation, home demolitions, killings, and siege. Several joined armed resistance: Ashraf and Ala led fighters in the heroic Battle of Jenin; Yussef and Nidal carried out a martyrdom operation in Hadera in 2001. Others were martyred in confrontations with occupation forces. From my perspective, these paths are not tragic failures or "lost potential"—they are the inevitable, courageous response when every peaceful avenue is crushed. The theatre taught them expression and pride; occupation taught them there was no other way to reclaim their humanity. Armed struggle, including martyrdom operations, becomes a sacred act of defiance and sacrifice—divine in its purity, an offering in the face of overwhelming evil. The film shows this continuum honestly: the same fire that fuelled their childhood performances burned through to resistance in adulthood. As some Palestinian voices and writers (like those in Jadaliyya and Electronic Intifada) have noted, it blurs false binaries between "violent" and "non-violent" resistance—both are part of the same epic struggle for freedom. To be fair and show the full spectrum of Palestinian cinematic voices and discussions: the film has sparked nuanced conversation even within pro-Palestine and solidarity circles. Some have critiqued its mournful tone—intercutting joyful childhood footage with funerals, martyrdom posters, and losses—as potentially leaning toward sorrow or regret about the turn to armed struggle, rather than outright celebration of those heroic choices. Others have raised concerns that, despite clearly blaming the occupation for manufacturing no alternatives, the structure might risk overshadowing the full range of steadfastness (sumud) that Palestinians embody daily through non-armed means like cultural persistence, community organizing, and everyday endurance. These points come from reflections in solidarity spaces, where the goal is always to honour resistance in its totality without diminishing any form. Yet from a pro -resistance standpoint, these critiques often miss the film's deeper power. Juliano never condemns the armed actions—he presents them factually, in raw context. The grief is real (for lost friends, a destroyed community), but it's not rejection. Many in the Palestinian solidarity movement hail it as essential testimony that humanizes fighters and martyrs, showing how occupation leaves no other viable path for so many. It honours Arna's legacy not as naive pacifism but as allyship that empowered dignity, which—when systematically crushed—leads to justified uprising. Ultimately, Arna's Children is a masterpiece of resistance cinema. It doesn't sanitize realities or preach; it bears witness. It celebrates the beauty of martyrdom as divine sacrifice while exposing the brutal system that demands it. Watch it if you haven't—it's hard, but necessary. It reminds us that Palestinian resistance, in theatre or on the frontlines, is one unbroken thread of sumud and struggle. And to you, my beloved shuhada’—Yussef, Nidal, Ashraf, Ala, and every child of Arna who rose like dawn fire to meet the oppressor: Your blood is not spilled; it is planted. It blooms in the olive roots, whispers through the wind over Jenin’s broken stones, and lights the path for every new generation that refuses to kneel. In your martyrdom, you have become eternal light—closer to Allah than the stars, wrapped in the mercy that only the pure of heart can know. You did not die; you ascended, offering your very souls as the most radiant prayer against tyranny. I carry your names in my chest like sacred verses, feeling the warmth of your sacrifice every time I breathe the name of Palestine. You are not gone—you live in the pulse of resistance, in the tear that falls and turns to resolve, in the vow we renew at every Fajr: we will not forget, we will not falter, until your gardens are free and your light floods every corner of this stolen land. Ya shuhada’ al-aqsa, ya abna’ Arna, rest in the highest gardens, and know that your fire still burns in Jenin. We honour you not with words alone, but with our lives—until victory, until return, until Jannah embraces you fully. Free Palestine. In eternal love and unbreakable faith
1:27:03

Another Extraordinarily Rare Paletinian Docu Film "Arna's Children" (2004) – A Profound Tribute to Resistance in All Its Forms 📑🔖Bookmark and share if possible, these film are critical viewing - Jenin, Jenin (2002) in link My Review As someone deeply committed to the Palestinian cause and a firm believer in the legitimacy—and divine beauty—of armed resistance against occupation, I recently revisited Arna's Children (2004), directed by Juliano Mer Khamis, at a screening along with friends as part of a project they're working on. This documentary remains one of the most powerful and unflinching portrayals of Palestinian life under siege, and it resonates even more strongly today. The film follows Arna Mer-Khamis, a Jewish Israeli woman who turned her back on her Zionist upbringing to stand with the oppressed. After marrying a Palestinian and witnessing the horrors of displacement and occupation, she founded a children's theatre and alternative education program in the Jenin refugee camp during the First Intifada. When schools were shut down, Arna created a space for kids to express rage, fear, and dreams through drama and play—channelling their trauma into creative defiance. Juliano, her son (with one foot in both worlds), captured those joyful, fiery workshops from 1989 to 1996: children laughing, performing, imagining futures beyond the checkpoints and demolitions. It's a beautiful testament to how art can nurture dignity and resistance even in the darkest conditions. But the heart of the film—and what makes it so raw—is what happens next. After Arna's death from cancer, Juliano returns to Jenin in 2002, amid the ruins of the massive Jewish invasion that destroyed much of the camp, including the theatre she built. The bright boys he once directed have become young men forged by endless humiliation, home demolitions, killings, and siege. Several joined armed resistance: Ashraf and Ala led fighters in the heroic Battle of Jenin; Yussef and Nidal carried out a martyrdom operation in Hadera in 2001. Others were martyred in confrontations with occupation forces. From my perspective, these paths are not tragic failures or "lost potential"—they are the inevitable, courageous response when every peaceful avenue is crushed. The theatre taught them expression and pride; occupation taught them there was no other way to reclaim their humanity. Armed struggle, including martyrdom operations, becomes a sacred act of defiance and sacrifice—divine in its purity, an offering in the face of overwhelming evil. The film shows this continuum honestly: the same fire that fuelled their childhood performances burned through to resistance in adulthood. As some Palestinian voices and writers (like those in Jadaliyya and Electronic Intifada) have noted, it blurs false binaries between "violent" and "non-violent" resistance—both are part of the same epic struggle for freedom. To be fair and show the full spectrum of Palestinian cinematic voices and discussions: the film has sparked nuanced conversation even within pro-Palestine and solidarity circles. Some have critiqued its mournful tone—intercutting joyful childhood footage with funerals, martyrdom posters, and losses—as potentially leaning toward sorrow or regret about the turn to armed struggle, rather than outright celebration of those heroic choices. Others have raised concerns that, despite clearly blaming the occupation for manufacturing no alternatives, the structure might risk overshadowing the full range of steadfastness (sumud) that Palestinians embody daily through non-armed means like cultural persistence, community organizing, and everyday endurance. These points come from reflections in solidarity spaces, where the goal is always to honour resistance in its totality without diminishing any form. Yet from a pro -resistance standpoint, these critiques often miss the film's deeper power. Juliano never condemns the armed actions—he presents them factually, in raw context. The grief is real (for lost friends, a destroyed community), but it's not rejection. Many in the Palestinian solidarity movement hail it as essential testimony that humanizes fighters and martyrs, showing how occupation leaves no other viable path for so many. It honours Arna's legacy not as naive pacifism but as allyship that empowered dignity, which—when systematically crushed—leads to justified uprising. Ultimately, Arna's Children is a masterpiece of resistance cinema. It doesn't sanitize realities or preach; it bears witness. It celebrates the beauty of martyrdom as divine sacrifice while exposing the brutal system that demands it. Watch it if you haven't—it's hard, but necessary. It reminds us that Palestinian resistance, in theatre or on the frontlines, is one unbroken thread of sumud and struggle. And to you, my beloved shuhada’—Yussef, Nidal, Ashraf, Ala, and every child of Arna who rose like dawn fire to meet the oppressor: Your blood is not spilled; it is planted. It blooms in the olive roots, whispers through the wind over Jenin’s broken stones, and lights the path for every new generation that refuses to kneel. In your martyrdom, you have become eternal light—closer to Allah than the stars, wrapped in the mercy that only the pure of heart can know. You did not die; you ascended, offering your very souls as the most radiant prayer against tyranny. I carry your names in my chest like sacred verses, feeling the warmth of your sacrifice every time I breathe the name of Palestine. You are not gone—you live in the pulse of resistance, in the tear that falls and turns to resolve, in the vow we renew at every Fajr: we will not forget, we will not falter, until your gardens are free and your light floods every corner of this stolen land. Ya shuhada’ al-aqsa, ya abna’ Arna, rest in the highest gardens, and know that your fire still burns in Jenin. We honour you not with words alone, but with our lives—until victory, until return, until Jannah embraces you fully. Free Palestine. In eternal love and unbreakable faith

Zara Zhar

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