Set in the hills of the West Bank, The Teacher, written and directed by British-Palestinian filmmaker Farah Nabulsi, tells the riveting story of Bassem (Saleh Bakri), a Palestinian high school English teacher struggling to inspire his students under the pall of Israel's occupation.
What’s it all for—the studying, the scholarship—if only to see armed settlers burn down your village olive trees and an Israeli government demolish your family home to make way for another illegal settlement? To the Palestinian teen who speaks in despair, as though old and tired with little for which to live, the middle-aged Bassem tells his student to return to his books to “regain control” in pursuit of an education that holds hope for a better life.
Although the film is Bassem’s journey of self-blame, newfound love, and quiet yet determined resistance, we also see events through the eyes of his prized student Adam (Muhammed Abed Elrahman), who becomes Bassem’s surrogate son replacing the one Bassem lost, the one we meet only through scenes that take us back in time.
Now—during the U.S.-armed Israeli genocide in Gaza and emboldened settler movement ripping through the West Bank—it is hard to imagine Nabulsi entering the Israeli-controlled West Bank to film The Teacher.
Blessed with looks and smarts, the surrogate son Adam pours over his books at a desk in the dirt outside overlooking the village destined for erasure. His home is gone. The tractor left only slabs of cement under which Adam recovers a desk, a couch, and a pair of binoculars that afford him advance notice of a looming threat or gut punch.
One measure of a good movie is whether you care about the characters or feel compelled to watch them, regardless of whether you agree with their choices or roles in the film, regardless of whether the character is a teacher invested in his students or a cunning Israeli intelligence officer who knows exactly which emotional button to push. For character development—raw, textured—The Teacher scores 10 out of 10, not only because Bassem is heroic, protective, and ultimately selfless but because both he and Adam are tested in ways most of us never will be challenged, leaving us wondering what we would choose if we lived under occupation—the scorched land of nighttime raids and vigilante violence, where our futures are not our own, where the fork in the road between self-defense and vengeance sometimes merges and where the greater good beckons us to hush creeping doubts. Would we remember The Teacher’s words: “Revenge eats away at you and destroys from the inside”?
Reviewers from legacy media—The New York Times, the LA Times—criticize the movie for having too many subplots. “But a teacher-student bonding narrative, a legal procedure, a family tragedy, a romance, and a kidnapping thriller are a lot to hang on one character,” writes NYT reviewer Ben Kenigsberg. “Nabulsi, unfortunately, muddles the story with multiple subplots, some inelegant acting, and contrived English-language dialogue,” writes the LAT’s Carlos Aguilar.
Did these movie critics see the same film this reviewer saw?
Such undeserved criticism suggests the writers are imposing their detached notion of reality on a drama that is all too real. The critics’ desire for a less complicated storyline with more refined dialogue suggests colonization of the art form rather than criticism. Strands of multifaceted characters must not be removed to suit cinematic preferences for a formulaic Hollywood blockbuster.
Conversations in The Teacher resonate as familiar even in the most unfamiliar surroundings, where rough-around-the edges Palestinian teens stereotype Lisa (Imogen Poots), the blonde British school counselor, as a mere do-gooder. “Miss United Nations has arrived,” joke the teens who call their teacher a “player” when between cigarette puffs he locks eyes with the British import. As for the subplots—the gun behind the bookcase, the woman who emerges in only a towel, the judge who delivers injustice—these are not disconnected B or C stories but deftly interwoven branches of the A story about survival and subterfuge under the boot of a brutal occupier. Life is not simple nor a singular line, certainly not when the path to decolonization can be uncertain and torturous, both for the colonized and the colonizer, though never in equal measure.
Nabulsi—who wrote the script in Britain during the Covid-19 lockdown and met with checkpoint delays during three months of filming in the West Bank—adds depth to her story when she introduces the subplot based on the abduction of Gilad Shalit, a former Israeli soldier held captive for over five years in Palestine before released in a hostage deal that freed 1,027 Palestinian prisoners. In one of the most compelling scenes in The Teacher, a U.S. American father, an Israeli resident whose son is held hostage by Palestinians, sympathizes with Bassem having lost a son, for in a metaphorical sense the American father also lost his son after the young man insisted the family emigrate to Israel following a Birthright Israel trip. Now the father, whose wife berates him—much as Basem’s wife berated her husband for failing to protect their son—finds himself a stranger in a strange land called Israel. No, he assures Bassem, he is not one of them, one of the heartless occupiers.
Nabulsi, the daughter of a Palestinian mother and a Palestinian-Egypian father, was born and raised in London, where she pursued a career in finance and worked for JPMorgan before becoming a filmmaker. She switched careers, from stocks to scripts, after visiting Palestine to trace her family history—a mother who fled to Kuwait following the 1967 war, a father who emigrated to London to study civil engineering.
Nabulsi’s short film The Present—also set in occupied Palestine and also starring Palestinian actor Bakri—was nominated for an Oscar and won a BAFTA (British Academy Film Television Award). The Teacher—a suspenseful one hour and 55 minute drama—premiered at the Toronto International Film Festival in September of 2023, just weeks before October 7. During shooting Nabulsi set up large black screens to cover actors playing IDF soldiers because she feared that if villagers thought the soldiers were real, a hurricane of heartache would ensue.
Now—during the U.S.-armed Israeli genocide in Gaza and emboldened settler movement ripping through the West Bank—it is hard to imagine Nabulsi entering the Israeli-controlled West Bank to film The Teacher. Fortunately, for us, the movie audience; for Palestine, the resistance; and for the solidarity movement, marchers across the globe, The Teacher can be livestreamed on several platforms or watched in theaters from coast to coast.
