Omar

It begins as a romance between the walls of two camps and ends as a brutal response to the question what the war on Palestinian land does to people. It involves raw brutality which is something no similar dramatic story can do without. For me personally it was shocking, and I will think about it for a long time. Especially the finale. (22/09/2014)

I have to admit that since Paradise Now, director Hany Abu-Assad has clearly progressed further, and his drama can withstand even the most precise measurements and comparisons with foreign models. Moreover, it is evident that he is influenced by European cinema and adapts the pace and style of his storytelling to the local audience. I greatly appreciate the sense of authenticity. Hany Abu-Assad grew up in Palestine and can convincingly and captivatingly depict the local realities. As for the acting, I also did not find any weaknesses worth mentioning. Perhaps, I should note that Omar is a political drama that necessarily has a propagandistic dimension. Palestine is unfortunate in that it is disputed by two ethnic groups, and therefore two radically different interpretations of its modern history exist. The viewer must take into account and approach Omar's story with a certain reservation and awareness that the problem is (much) more complex since the film advocates for the "Palestinian cause." If Palestinians, who are currently at a disadvantage in terms of power, were to find themselves in the role of the hegemon, I would have no illusions about the fate of the Jewish population. Overall impression: 80%. (22/09/2017)

Omar se bat pour son pays, pour son amour et, à la fin, il se bat même pour sa vie. Il se bat tel un lion, armé de nombreuses vertus et alimenté par son amour pour Nadya. Un drame brut sur fond de conflit israélo-palestinien. Je l’évalue à quatre étoiles et demie, mais le final imposant – qui m’a choqué – me fait arrondir vers le haut. (07/10/2013)