In all the films, all I realised is the presence of an energy that I experienced, and the task was to try to capture that energy through the medium of film.
Rosalind Nashashibi makes films that, at first glance, can seem a little ordinary – like home movies without the home, nothing much happens, and then they’re over. Occasionally they can also seem a little bleak: in Blood and Fire (2003), for example, old women eat lunch at a Salvation Army canteen that is both over-lit and bleached of colour; in Dahiet Al Bareed: District of the Post Office (2002) tyres burn amid the rubble of buildings beneath a blue sky; in The States of Things (2000) a scrum of elderly people hunt for bargains at a jumble sale…