‘To a Land Unknown’ Review: Mahdi Fleifel’s Thriller about Stranded Palestinian Refugees is Powerful and Unpretentious | Cannes

Mahdi Fleifel’s directorial debut in fiction, To a Land Unknown, follows the harrowing journey of Chatila (Mahmood Bakri) and Reda (Aram Sabbah), two Palestinian cousins who, after fleeing a camp in Lebanon, find themselves stranded in Athens, living in an underground limbo. Desperately seeking a way to reach Germany, they become caged in an uncontrollable spiral. This debut fiction effort showcases the Palestinian director’s precise handling of thriller tones within the narrative as he smoothly transitions from documentary to fiction. He adeptly navigates the tension and suspense inherent in the story with his skillful direction keeping viewers on the edge of their seats as the film races along like an edgy thriller, while also maintaining a poignant exploration of its central themes, reminiscent of the gritty intensity found in the best William Friedkin thrillers.

The film goes deeply into the contrasting personalities and the elaborate bond between our two leads, who couldn’t be more different from each other. Chatila emerges as the born leader, fiercely determined and inventive, while Reda tends to follow, often looking to his cousin for guidance and backing. Their relationship is a compelling study of contrasting dynamics — Chatila’s boldness and strategic thinking versus Reda’s more hesitant and compliant nature. In their lowest moments, when desperation drives them to theft or other morally ambiguous acts, it is Chatila who engineers their plans, including their biggest dream of leaving for Germany. Reda often derails when left to his own devices, his vulnerability emerges as he falls down the rabbit hole of drug abuse and resorts to prostituting himself. Chatila’s unwavering focus on their shared goal contrasts sharply with Reda’s self-destructive tendencies, painting a moving picture of their struggle to survive and maintain hope in an environment that relentlessly challenges their will.

The characters in Fleifel’s film are among the best-written of the year. They are crafted with such depth and complexity that their actions, even when they contradict their vows, reveal the subtle nuances that make us human. This intelligent portrayal of the main characters as not mere victims is a testament to nuanced storytelling. Despite the challenges they face and the adversity they confront, Chatila and Reda are portrayed as individuals with agency. Fleifel avoids reducing them to one-dimensional characters defined solely by their circumstances, but he presents them as complex and multifaceted individuals striving for a better tomorrow. To us, they are people with families, hopes as well as urgent needs that transcend the sheer necessity of wanting to be in a better place. As we root for their progress and growth throughout the film, we are being positioned to reflect on broader socio-political issues surrounding migration and displacement. 

In a film full of thought-provoking sequences, one particularly poignant scene subtly weaves political commentary into the narrative through the poetry of renowned Palestinian poet and author Mahmoud Darwish. As one of the characters recites the poet’s verses, the film links them to their Palestinian identity, grounding their struggles within the broader context of exile. “The mask has fallen off. You have no brothers, my brother. You have no castles, no water, no medicine, no sky, no blood, no sail.” This use of Darwish’s poetry is so delicately handled that it can almost go unnoticed, yet it resonates deeply, accentuating the connection to heritage and the enduring impact of a homeland in a frenzy.

Politically, To a Land Unknown strikes the perfect balance by immersing itself in its narrative, avoiding didactic or direct accusations and affirmations. While it refrains from overtly political statements, the film’s context and the challenges its characters face, naturally bring the political aspects to the forefront. The Palestinian and migration crises are omnipresent, woven seamlessly into the fabric of the story. This unpretentious yet powerful approach enables the film to resonate deeply without sacrificing its narrative integrity which is a testament to Mahdi Fleifel’s prowess as a storyteller and a significant voice in contemporary Palestinian cinema. 

Grade : A-

This review is from the 2024 Cannes Film Festival where To a Land Unknown premiered in the Director’s Fortnight section. There is no U.S. distribution at this time.

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Ali Benzekri

A devoted cinephile, Ali started his career as Communication and Ditribution Manager at Ali n' Productions (Ali Zaoua, Casablanca Beats, Blue Caftan). He followed that resourceful experience by taking on the job of Head of Archives at the Cinémathèque de Tanger. Since 2021, Ali has been running a specialized film program on Radio 2M, one of the leading radio channels in Morocco. He is currently in the process of launching the Filmothèque, a traveling cinema project aimed at showing independent and classic films in Morocco in creative fashion. He writes about films in English and French Lioumness, International Cinephile Society and TelQuel.

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