“They cut down 10 trees; we plant 1000.” – A Review of 'Land of Canaan' and the Leeds Palestinian Film Festival

“To make art is to say that we are here.” On the thirteenth of November, the Leeds Palestinian Film Festival opens its doors for the twelfth year, bringing Palestinian stories to the forefront through the medium of cinema. 

In a land so frequently defined by conflict, the question of what it means to call somewhere home takes on an entirely different significance. Maggie Lemere’s Land of Canaan explores this very concept, following Palestinian olive farmers as they quietly resist occupation through their generational stewardship over their land. Lemere masterfully intertwines Palestinian identity with the natural landscape, presenting the olive tree as both a source of livelihood and a powerful symbol of cultural memory, belonging, and resilience. Through intimate portraits of the farmers and their relationship with the land, the documentary offers a perspective on Palestine that extends beyond the familiar imagery of conflict, drawing attention instead to the lives and histories that continue to exist within it.

In discussion with the Festival Directors Frances Bernstein and Jane Stageman, they stated that their focus for this year is “erasure. It’s a possibility for the Palestinian people, a reality for many.” They told me that this was what they kept at the front of conversations when programming the festival and selecting the ensemble of films, keen for the collection to balance all aspects of Palestinian life. It is clear to me that Land of Canaan serves a vital role in projecting the festival’s message: optimism. 

The journey Lemere takes her audience on reveals a profound capacity for hope in the face of adversity, highlighting the strength and perseverance of the Palestinian people. Rather than imposing an external narrative onto their experiences, Lemere allows the farmers' voices to guide the documentary, giving agency to those whose stories are so often told by others. The film opens with the text “they planted so we could eat, we plant so others will eat.” The sentiment establishes an understanding of cultivation that extends beyond immediate survival, framing the act of planting as an investment in generations yet to come. The farmers are not simply working the land for their own benefit, but preserving something that will outlive them. There is an inherent optimism to this idea, the notion that the conflict does not diminish their faith in the future, but rather strengthens their desire to secure one for those who will come after. 

The film has this raw and beautiful soundscape throughout, grounding the audience in the environment and allowing the natural rhythms of Palestinian life to become part of the storytelling. The hum of the Adhan (call to prayer) with the crisp rustling of the olive branches depicts a sense of continuity between the land, its people, and the practices that have shaped generations. Additionally, the cinematography skilfully captures the textures of agricultural life, with sequences presented entirely in the format of old home video, flickering between various close-up shots through leaves and branches, streaks of light reaching through the cracks with a golden glow. This format feels deeply personal and intimate, continuing to draw attention to the beauty of an environment that is so deeply intertwined with Palestinian heritage. Lemere employs these cinematic techniques to encourage her audience to embrace the indissoluble connection between Palestinian identity and the very land they stand on. 

Ultimately, Land of Canaan left a profound impression on me; it is deeply moving, provokes uncomfortable emotions, yet left me with a feeling I can only describe as an enduring sense of hope. Lemere crafts this documentary with utter admiration for the people of Palestine, and celebrates the persistence of their culture. But the film, just like the lives of Palestinians, remains complicated, and refuses to offer the audience the comfort of a straightforward narrative. It acknowledges that hope and devastation exist simultaneously. One moment that particularly struck me was when Nasser, an olive farmer, sits at his father’s grave and reflects on his legacy. He is visibly overcome with emotion as he describes what his father told him: “Stay committed to the land, and to the people,” to which Nasser responds, “It shouldn’t be hard to do, but every Palestinian is a carrier. The carrier of a big burden… that’s called ‘Palestine’.” Nasser's recollection brings the documentary's opening sentiment full circle. The responsibility to preserve the land is not something that begins or ends with any one generation, but an inheritance passed down through families, carrying with it both the memories of those who came before and the hopes of those yet to come. However, there is something particularly heartbreaking about the idea that belonging to one's homeland should carry such an immense burden. Nasser's words capture the contradiction at the heart of the documentary: a profound love for one's land existing alongside the immense suffering associated with the struggle to preserve it.

Daniele Rugo, director of Life Support, another film releasing at the festival, told me that “film has the extraordinary power of acting on emotions.” To bring Palestinian stories to the screen is to give their voices the opportunity to resonate beyond the communities in which they originate, touching audiences in ways that words alone cannot. The directors of the Palestinian Film Festival encourage you, reader, to “be curious”. Whether you are knowledgeable about the events in Palestine today, or this article is the first you’ve heard of it, allow cinema to steer your emotions. Allow these filmmakers to guide you towards a better understanding of Palestinian life, their identities, what they are enduring, and how they’re enduring it. By doing so, you are a part of what keeps their voices alive. 

“To create art is to say that we are here.”

Words by Evey Daly she/her

Leeds Palestine Film Festival, November 13^th - December 6^th 

Tickets for Land of Canaan, 20^th November: https://www.eventbrite.co.uk/e/film-screening-land-of-canaan-tickets-2002150459922