Last year, in a nearly empty screening room, I saw what became an Academy Award finalist in the documentary category, “5 Broken Cameras.” I then interviewed filmmaker Guy Davidi about his background and his work on the film for The Arty Semite.
Recently I had another email conversation with Davidi, discussing how he’s faring with his film in the limelight, the nature of his collaboration with his Palestinian co-director Emad Burnat, and whether he knew if his colleague (a novice in the trade) would pursue filmmaking in the future.
When asked his view of the other Israeli-produced film nominated for best documentary, “The Gatekeepers,” he was reluctant to say much, citing an Academy rule prohibiting him from commenting on a fellow nominee. He responded mainly about his experience as a nominee with his Palestinian partner, but began with the political impact of the other work:
”The Gatekeepers” has put an end to the claim that Ehud Barak conveyed that there is no Palestinian partner; for me [this] is the most important achievement of the film and [on] the political discourse in Israel.