A Palestinian-Israeli film just won an Oscar − so why is it so hard to see?
The Palestinian-Israeli film “No Other Land” won the 2025 Academy Award for best documentary but struggles to find a U.S. distributor due to its controversial subject matter around the Israeli-Palestinian conflict. Despite critical acclaim, it faces unique barriers compared to other independent films.
Last Updated on November 3, 2025 by Daily News StaffLeft to right: Basel Adra, Rachel Szor, Hamdan Ballal and Yuval Abraham pose with their Oscars for ‘No Other Land’ at the 2025 Academy Awards. Maya Dehlin Spach/Getty Images
For many low-budget, independent films, an Oscar win is a golden ticket.
The publicity can translate into theatrical releases or rereleases, along with more on-demand rentals and sales.
However, for “No Other Land,” a Palestinian-Israeli film that just won best documentary feature at the 2025 Academy Awards, this exposure may not translate into commercial success in the U.S. That’s because the film has been unable to find a company to distribute it in America.
“No Other Land” chronicles the efforts of Palestinian townspeople to combat an Israeli plan to demolish their villages in the West Bank and use the area as a military training ground. It was directed by four Palestinian and Israeli activists and journalists: Basel Adra, who is a resident of the area facing demolition, Yuval Abraham, Hamdan Ballal and Rachel Szor. While the filmmakers have organized screenings in a number of U.S. cities, the lack of a national distributor makes a broader release unlikely.
Film distributors are a crucial but often unseen link in the chain that allows a film to reach cinemas and people’s living rooms. In recent years it has become more common for controversial award-winning films to run into issues finding a distributor. Palestinian films have encountered additional barriers.
As a scholar of Arabic who has written about Palestinian cinema, I’m disheartened by the difficulties “No Other Land” has faced. But I’m not surprised.
The role of film distributors
Distributors are often invisible to moviegoers. But without one, it can be difficult for a film to find an audience.
Distributors typically acquire rights to a film for a specific country or set of countries. They then market films to movie theaters, cinema chains and streaming platforms. As compensation, distributors receive a percentage of the revenue generated by theatrical and home releases.
The film “Soundtrack to a Coup D’Etat,” another finalist for best documentary, shows how this process typically works. It premiered at the Sundance Film Festival in January 2024 and was acquired for distribution just a few months later by Kino Lorber, a major U.S.-based distributor of independent films.
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The inability to find a distributor is not itself noteworthy. No film is entitled to distribution, and most films by newer or unknown directors face long odds.
So why can’t “No Other Land” find a distributor in the U.S.?
There are a couple of factors at play.
Shying away from controversy
In recent years, film critics have noticed a trend: Documentaries on controversial topics have faced distribution difficulties. These include a film about a campaign by Amazon workers to unionize and a documentary about Adam Kinzinger, one of the few Republican congresspeople to vote to impeach Donald Trump in 2021.
The Israeli-Palestinian conflict, of course, has long stirred controversy. But the release of “No Other Land” comes at a time when the issue is particularly salient. The Hamas attacks of Oct. 7, 2023, and the ensuing Israeli bombardment and invasion of the Gaza Strip have become a polarizing issue in U.S. domestic politics, reflected in the campus protests and crackdowns in 2024. The filmmakers’ critical comments about the Israeli occupation of Palestine have also garnered backlash in Germany.Locals attend a screening of ‘No Other Land’ in the village of A-Tuwani in the West Bank on March 14, 2024. Yahel Gazit/Middle East Images/AFP via Getty Images
Yet the fact that this conflict has been in the news since October 2023 should also heighten audience interest in a film such as “No Other Land” – and, therefore, lead to increased sales, the metric that distributors care about the most.
Indeed, an earlier film that also documents Palestinian protests against Israeli land expropriation, “5 Broken Cameras,” was a finalist for best documentary at the 2013 Academy Awards. It was able to find a U.S. distributor. However, it had the support of a major European Union documentary development program called Greenhouse. The support of an organization like Greenhouse, which had ties to numerous production and distribution companies in Europe and the U.S., can facilitate the process of finding a distributor.
By contrast, “No Other Land,” although it has a Norwegian co-producer and received some funding from organizations in Europe and the U.S., was made primarily by a grassroots filmmaking collective.
Stages for protest
While distribution challenges may be recent, controversies surrounding Palestinian films are nothing new.
Many of them stem from the fact that the system of film festivals, awards and distribution is primarily based on a movie’s nation of origin. Since there is no sovereign Palestinian state – and many countries and organizations have not recognized the state of Palestine – the question of how to categorize Palestinian films has been hard to resolve.
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In 2002, The Academy of Motion Picture Arts and Sciences rejected the first ever Palestinian film submitted to the best foreign language film category – Elia Suleiman’s “Divine Intervention” – because Palestine was not recognized as a country by the United Nations. The rules were changed for the following year’s awards ceremony.
In 2021, the cast of the film “Let It Be Morning,” which had an Israeli director but primarily Palestinian actors, boycotted the Cannes Film Festival in protest of the film’s categorization as an Israeli film rather than a Palestinian one.
Film festivals and other cultural venues have also become places to make statements about the Israeli-Palestinian conflict and engage in protest. For example, at the Cannes Film Festival in 2017, the right-wing Israeli culture minister wore a controversial – and meme-worthy – dress that featured the Jerusalem skyline in support of Israeli claims of sovereignty over the holy city, despite the unresolved status of Jerusalem under international law.Israeli Culture Minister Miri Regev wears a dress featuring the old city of Jerusalem during the Cannes Film Festival in 2017. Antonin Thuillier/AFP via Getty Images
At the 2024 Academy Awards, a number of attendees, including Billie Eilish, Mark Ruffalo and Mahershala Ali, wore red pins in support of a ceasefire in Gaza, and pro-Palestine protesters delayed the start of the ceremonies.
As he accepted his award, “No Other Land” director Yuval Abraham called out “the foreign policy” of the U.S. for “helping to block” a path to peace.
Even though a film like “No Other Land” addresses a topic of clear interest to many Americans, I wonder if the quest to find a U.S. distributor just got even harder.
This article has been updated to clarify that the film was a collaborative effort between Palestinian and Israeli filmmakers. It has also been updated to reflect the film’s win at the 2025 Academy Awards.
The dystopian Pottersville in ‘It’s a Wonderful Life’ is starting to feel less like fiction
A fresh look at It’s a Wonderful Life through the film’s darkest detour—Pottersville—and why its greed, corruption, and desensitization to cruelty feels uncomfortably familiar in America today.
To many Americans, George Bailey’s dystopian nightmare is disquietingly familiar. Paramount
The dystopian Pottersville in ‘It’s a Wonderful Life’ is starting to feel less like fiction
Nora Gilbert, University of North Texas Along with millions of others, I’ll soon be taking 2 hours and 10 minutes out of my busy holiday schedule to sit down and watch a movie I’ve seen countless times before: Frank Capra’s “It’s a Wonderful Life,” which tells the story of a man’s existential crisis one Christmas Eve in the fictional town of Bedford Falls. There are lots of reasons why this eight-decade-old film still resonates, from its nostalgic pleasures to its cultural critiques. But when I watch it this year, the sequence where Bedford Falls transforms into the dark and dystopian “Pottersville” will resonate the most. In the film, protagonist George Bailey, who’s played by Jimmy Stewart, is on the brink of suicide. He seems to have achieved the hallmarks of the American dream: He’s taken over his father’s loan business, married the love of his life and fathered four excessively adorable children. But George feels stifled and beaten down. His Uncle Billy has misplaced US$8,000 of the company’s money, and the town’s resident tyrant, Mr. Potter, is using the mishap to try to ruin George, who’s his last remaining business competitor. An angel named Clarence is tasked with pulling George back from the brink. To stop him from attempting suicide, Clarence decides to show George what life would have been like if he’d never been born. In this alternate reality, Bedford Falls is called Pottersville, a place Mr. Potter runs as a ruthless banker and slumlord.Pottersville, the dark, dystopian version of Bedford Falls, is a place characterized by vice and moral decay.Paramount Having previously written about “It’s a Wonderful Life” in my book on literary and film censorship, I can’t help but see parallels between Pottersville and the U.S. today. Think about it: In Pottersville, one man hoards all the financial profits and political power. In Pottersville, greed, corruption and cynicism reign supreme. In Pottersville, hard-working immigrants like Giuseppe Martini who were able to build a life and run a business in Bedford Falls have vanished. In Pottersville, homeless addicts like Mr. Gower and nonconformist “pixies” like Clarence are scorned and ostracized, then booted out of the local watering hole. In Pottersville, cops arrest people like Violet Bick while they’re at work and haul them away, kicking and screaming.Violet Bick gets dragged away by the Pottersville police as George looks on.Paramount But what horrifies George the most about Pottersville is how desensitized the people living in it seem to be to its harshness and cruelty – how they treat him like he’s the crazy, deranged one for wanting and expecting things to be different and better. This is what the current political moment feels like to me. There are days when the latest headlines feel so jarringly unprecedented that I find myself thinking, “Can this be happening? Can this be real?” If you think these comparisons are a bit of a stretch, consider when “It’s a Wonderful Life” was made, and the frame of mind Capra was in when he made it.
Frank Capra, anti-fascist
In 1946, Capra was just returning to Hollywood filmmaking after serving for four years in the U.S. Army, where the Office of War Information had tasked him with producing a series of documentary films about World War II and the lead-up to it. Even though Capra hadn’t been on the front lines, he’d been immersed in the sounds and images of war for years on end, and he had become acutely familiar with Germany, Italy and Japan’s respective rises to fascism.Frank Capra served in the U.S. Army during World War II.Keystone/Hulton Archive via Getty Images When deciding on his first postwar film, Capra recalled in his autobiography that he specifically “knew one thing – it would not be about war.” Instead, he chose to adapt a short story by Philip Van Doren Stern, “The Greatest Gift,” that Stern had originally sent to friends and family as a Christmas card in 1943. Stern’s story is certainly not about war. But it’s not exactly about Christmas, either. As Stern writes in his opening lines:
“The little town straggling up the hill was bright with colored Christmas lights. But George Pratt did not see them. He was leaning over the railing of the iron bridge, staring down moodily at the black water.”
The protagonist contemplates suicide because he’s “sick of everything” in the small-town “mudhole” he’s stuck in – until, that is, a “strange little man” gives him the chance to see what life would be like if he’d never been born. It was Capra and his team of screenwriters who added the sinister Henry F. Potter to Stern’s short, simple tale. The Potter subplot encapsulates the film’s most trenchant, still-resonant themes: the unfairness of socioeconomic injustices; the pervasiveness of corporate and political corruption; the threat of monopolized power; the need for affordable housing. These themes had, of course, run through many of Capra’s prewar films as well: “Mr. Deeds Goes to Town,” “You Can’t Take It with You,” “Meet John Doe” and “Mr. Smith Goes to Washington,” the last of which also starred Jimmy Stewart. But they take on a different kind of weight in “It’s a Wonderful Life” – a weight that’s especially visible on the weathered face of Stewart, who himself had just returned from a harrowing four-year tour of duty as a bomber pilot in Europe. The idealistic vigor with which Stewart had fought crooked politicians and oligarchs as Mr. Smith is replaced by the bitterness, exhaustion, frustration and desperation with which he battles against Mr. Potter as George Bailey.George Bailey feels helpless in the face of corruption and cruelty.Paramount
Life after Pottersville
By the time George has begged and pleaded his way out of Pottersville, the lost $8,000 is no longer top of mind. He’s mainly just relieved to find Bedford Falls as he had left it, warts and all. And yet, the Bedford Falls that George returns to isn’t quite the same as the one he left behind. In this Bedford Falls, the community rallies together to figure out a way to recoup George’s missing money. Their pre-digital version of a GoFundMe page saves George from what he’d feared most: bankruptcy, scandal and prison. And even though his wife, Mary, tries to attribute this sudden wave of collectivist, activist energy to some sort of divine intervention – “George, it’s a miracle; it’s a miracle!” – Uncle Billy points out that it really came about through more earthly organizing means: “Mary did it, George; Mary did it! She told some people you were in trouble, and they scattered all over town collecting money!”The residents of Bedford Falls come together to save George from financial ruin.Paramount But the question of whether George actually wins his battle against Potter is a murky one. While the typical Capra protagonist triumphs by defeating vice and exposing subterfuge, George never even realizes that Potter is the one who got hold of his money and tried to ruin his life. Potter is never held accountable for his crimes. On the other hand, George is able to learn, from his time in Pottersville, what a crucial role he plays in his community. George’s victory over Potter, then, lies not in some grand final act of retribution, but in the incremental ways he has stood up to Potter throughout his life: not capitulating to Potter’s bullying or intimidation tactics; speaking truth to power; and running a community-centered business rather than one guided by greed and exploitation. In recent months, there have been similar acts of protest, large and small, in the form of rallies, boycotts, immigrant aid efforts, subscription cancellations, food bank donations and more. That doesn’t mean the U.S. has made it out of Pottersville, however. Each day, more head-spinning headlines appear, whether they’re about masked agents terrorizing immigrant communities, the dismantling of anti-corruption oversights, the consolidation of executive power or the naked display of political grift. Zuzu’s petals are still missing. Clarence still hasn’t gotten his wings. But this holiday season, I’m hoping it will feel helpfully cathartic to go with George Bailey, for the umpteenth time, through the dark abyss of his dystopian nightmare – and come out with him, stronger and wiser, on the other side. Nora Gilbert, Professor of Literary and Film Studies, University of North Texas This article is republished from The Conversation under a Creative Commons license. Read the original article.
Hollywood vs. Reality: How LA’s Wilshire Subway Was Really Built
Wilshire Subway: Did LA blast subway tunnels under Wilshire Boulevard? Hollywood says yes — engineers say no. Here’s how Metro safely tunneled beneath Miracle Mile.
When the 1997 disaster film Volcano depicted lava erupting along Wilshire Boulevard and referenced blasting during Red Line subway construction, it delivered gripping cinema — but not accurate engineering.
In reality, Los Angeles Metro did not rely on large-scale blasting to construct subway tunnels beneath Wilshire Boulevard and the Miracle Mile. Instead, engineers used tunnel boring machines (TBMs) specifically to avoid the very risks Hollywood dramatized.
Why Blasting Was Avoided
The Wilshire Corridor sits atop historic oil fields, making methane gas pockets a known and serious concern. A deadly methane explosion near Fairfax Avenue in 1985 led to heightened scrutiny of underground construction in the area. Blasting in such conditions could have caused unpredictable gas releases, ground instability, or damage to surface structures.
As a result, Metro engineers chose pressurized, closed-face tunnel boring machines, which allow for:
Controlled excavation in dense urban environments
Continuous ground support to prevent settlement
Integrated gas detection and ventilation systems
These machines grind slowly through soil and rock while installing precast concrete tunnel linings, creating a sealed, gas-resistant structure as they advance.
The Real Engineering Feat
Although Volcano took creative liberties for dramatic effect, the true story of tunneling under Wilshire is no less impressive. Advances in TBM technology and methane mitigation ultimately allowed the Metro D Line (formerly the Red Line/Purple Line) to safely pass through one of Los Angeles’ most geologically complex corridors — without explosions, collapsing streets, or cinematic chaos.
Bottom Line
Volcano remains a memorable piece of 1990s disaster cinema, but its portrayal of subway construction is fiction. The real achievement lies in decades of careful planning, modern tunneling technology, and engineering solutions that quietly reshaped Los Angeles beneath its busiest boulevard.
4 films that show how humans can fortify – or botch – their relationship with AI
Our relationship with AI: The article explores how movies portray human-AI relationships, highlighting lessons from “Blade Runner,” “Moon,” “Resident Evil,” and “Free Guy.” It emphasizes the importance of trust, accountability, and oversight in shaping successful interactions with AI, especially amid evolving technologies.
Artificial intelligence isn’t just a technical challenge. It’s a relationship challenge.
Every time you give a task to AI, whether it’s approving a loan or driving a car, you’re shaping the relationship between humans and AI. These relationships aren’t always static. AI that begins as a simple tool can morph into something far more complicated: a challenger, a companion, a leader, a teammate or some combination thereof.
Movies have long been a testing ground for imagining how these relationships might evolve. From 1980s sci-fi films to today’s blockbusters, filmmakers have wrestled with questions about what happens when humans rely on intelligent machines. These movies aren’t just entertainment; they’re thought experiments that help viewers anticipate challenges that will arise as AI becomes more integrated in daily life.
Drawing on our research into films that depict AI in the workplace, we highlight four portrayals of human–AI relationships – and the lessons they hold for building safer, healthier ones.
1. ‘Blade Runner’ (1982)
In “Blade Runner,” humanlike androids called “replicants” are supposed to be perfect workers: strong, efficient and obedient. They were designed with a built-in, four-year lifespan, a safeguard intended to prevent them from developing emotions or independence.
The Tyrell Corporation, a powerful company that created the replicants and profits from sending them to work on distant colonies, sees them as nothing more than obedient workers.
But then they start to think for themselves. They feel, they form bonds with one another and sometimes with humans, and they start to wonder why their lives should end after only four years. What begins as a story of humans firmly in control turns into a struggle over power, trust and survival. By the end of the movie, the line between human and machine is blurred, leaving viewers with a difficult question: If androids can love, suffer and fear, should humans see and treat them more like humans and less like machines?
“Blade Runner” is a reminder that AI can’t simply be considered through a lens of efficiency or productivity. Fairness matters, too.
In the film, replicants respond to attacks on their perceived humanity with violence. In real life, there’s backlash when AI butts up against values important to humans, such as the ability to earn a living, transparency and justice. You can see this in the way AI threatens to replace jobs, make biased hiring decisions or misidentify people via facial recognition technology.
2. ‘Moon’ (2009)
“Moon” offers a quieter, more intimate portrayal of human–AI relationships. The movie follows Sam Bell, a worker nearing the end of a three-year contract on a lunar mining base, whose only companion is GERTY, the station’s AI assistant.
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At first, GERTY appears to be just another corporate machine. But over the course of the film, it gradually shows empathy and loyalty, especially after Sam learns he is one of many clones, each made to think they are working alone for three years on the lunar base. Unlike the cold exploitation of AI that takes place in “Blade Runner,” the AI in “Moon” functions as a friend who cultivates trust and affection.In ‘Moon,’ GERTY, the lunar base’s AI assistant, is the only companion for protagonist Sam Bell. Sony Pictures Classics
The lesson is striking. Trust between humans and AI doesn’t just happen on its own. It comes from careful design and continual training. You can already see hints of this in therapy bots that listen to users without judgment.
That trust needs to involve more than, say, a chatbot’s surface-level nods toward acceptance and care. The real challenge is making sure these systems are truly designed to help people and not just smile as they track users and harvest their data. If that’s the end goal, any trust and goodwill will likely vanish.
In the film, GERTY earns Sam’s trust by choosing to care about his well-being over following company orders. Because of this, GERTY becomes a trusted ally instead of just another corporate surveillance tool.
3. ‘Resident Evil’ (2002)
If “Moon” is a story of trust, the story in “Resident Evil” is the opposite. The Red Queen is an AI system that controls the underground lab of the nefarious Umbrella Corporation. When a viral outbreak threatens to spread, the Red Queen seals the facility and sacrifices human lives to preserve the conglomerate’s interests.
This portrayal is a cautionary tale about allowing AI to have unchecked authority. The Red Queen is efficient and logical, but also indifferent to human life. Relationships between humans and AI collapse when guardrails are absent. Whether AI is being used in health care or policing, life-and-death stakes demand accountability.
Without strong oversight, AI can lead in self-centered and self-serving ways, just as people can.
4. ‘Free Guy’ (2021)
“Free Guy” paints a more hopeful picture of human-AI relationships.
Guy is a character in a video game. He suddenly becomes self-aware and starts acting outside his usual programming. The film’s human characters include the game’s developers, who created the virtual world, along with the players, who interact with it. Some of them try to stop Guy. Others support his growth.‘Free Guy’ tells the story of a nonplayable character in a video game who suddenly breaks free from his preprogrammed role. 20th Century Studios
This movie highlights the idea that AI won’t stay static. How will society respond to AI’s evolution? Will business leaders, politicians and everyday users prioritize long-term well-being? Or will they be seduced by the trappings of short-term gains?
In the film, the conflict is clear. The CEO is set on wiping out Guy. He wants to protect his short-term profits. But the developers backing Guy look at it another way. They think Guy’s growth can lead to more meaningful worlds.
That brings up the same kind of issue AI raises today. Should users and policymakers go for the quick wins? Or should they use and regulate this technology in ways that build trust and truly benefit people in the long run?
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From the silver screen to policy
Step back from these stories and a bigger picture comes into focus. Across the movies, the same lessons repeat themselves: AI often surprises its creators, trust depends on transparency, corporate greed fuels mistrust, and the stakes are always global. These themes aren’t just cinematic – they mirror the real governance challenges facing countries around the world.
That’s why, in our view, the current U.S. push to lightly regulate the technology is so risky.
In July 2025, President Donald Trump announced his administration’s “AI Action Plan.” It prioritizes speedy development, discourages state laws that seek to regulate AI, and ties federal funding to compliance with the administration’s “light touch” regulatory framework.
Supporters call it efficient – even a “super-stimulant” for the AI industry. But this approach assumes AI will remain a simple tool under human control. Recent history and fiction suggest that’s not how this relationship will evolve.President Donald Trump displays the executive order he signed at the ‘Winning the AI Race’ summit on July 23, 2025, in Washington, D.C. Chip Somodevilla/Getty Images
These weren’t “bugs.” They were breakdowns in accountability and oversight, the same breakdowns these movies dramatize.
Human-AI relationships are evolving. And when they shift without safeguards, accountability, public oversight or ethical foresight, the consequences are not just science fiction. They can be very real – and very scary.
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