FROM GROUND ZERO
PALESTINE’S OFFICIAL SELECTION FOR THE 97TH ACADEMY AWARDS
Movie poster design by Chargefield Inc.
Our brains cannot fully process some things unless circumstances force them upon us. Even then, reality can be a cruel, unrelenting mistress. In producer RASHID MASHARAWI‘s heartwrenching film FROM GROUND ZERO, 22 short films from displaced citizens of Gaza expose the devastation, chaos, and seeds of hope. Raw storytelling from varying genres delivers all the emotion. The films range from three to six minutes, each having an extraordinary impact. 
Footage from those rescued from collapsed buildings, unimaginable loss, children caught in a tornado of violence, every film is immersive and visceral. The bravery and passion of the filmmakers are on full display. The viewing experience is heavy, inspiring, and vital, particularly for those who believe we should stop funding humanitarian efforts abroad. Amongst turmoil on American soil, we should thank our lucky stars for the privilege of honoring the ongoing courage, compassion, and unity of the Gazan people. FROM GROUND ZERO is a must-watch.
Below, you can find the breakdown of each film.
FROM GROUND ZERO Trailer:
PRODUCED BY RASHID MASHARAWI
A COLLECTION OF 22 UNTOLD SHORT STORIES FROM FILMMAKERS LIVING THROUGH WAR IN PRESENT-DAY GAZA
In Theaters January 3, 2025
2024 Official Selection – Toronto International Film Festival
2024 Official Selection – Boston Palestine Film Festival
2024 Official Selection – Middle East Now Firenze
2024 Official Selection – DC Palestinian Film & Arts Festival
2024 Official Selection – Urban World
Official Synopsis:
22 Palestinian filmmakers living through war capture their lives in Gaza over the past year, revealing stories beyond the headlines. Their work offers a striking view of life’s fragility and the resilience of love in the face of devastation.
Each film, ranging in length from three to six minutes, presents a unique perspective on the current reality in Gaza. The project captures the diverse experiences of life in the Palestinian enclave, including the challenges, tragedies, and moments of resilience faced by its people. Using a mix of genres including fiction, documentary, docu-fiction, animation, and experimental cinema, From Ground Zero presents a rich diversity of stories that reflect the sorrow, joy, and hope inherent in Gazan life.
Despite harsh filming conditions, Gaza’s vibrant artistic scene shines through this stunning anthology film, which offers an intimate and powerful portrait of daily life in modern-day Palestine – and the enduring spirit of its people.
OPENING JANUARY 3RD
The full list of openings can be found here: https://fromgroundzero.url.film/
PART ONEReema Mahmoud – “Selfie”Reema Mahmoud, a Palestinian film director specializing in women’s and youth issues, has directed over twenty films. With a BA in Media and Communication and diplomas in Palestinian Studies and film production, she has won several awards, including the 2020 Creative Woman Award and the 2021 Best Short Film Award.
Muhammad Al Sharif, based in Gaza, holds a Business Administration degree and a Cinema Diploma. He is an actor and director, known for the short film Min Wen Lawen, hosting Shobak Al-Balad, and acting in Chi Ann Blaze of Fury. He has extensive training in acting, cinematography, and film production.Ahmed Hassouna – “Sorry Cinema”Ahmed Hassouna, a film director under siege and bombardment in northern Gaza, was a cinema buff before the war, passionately working in the industry, following it, and studying it closely. He made many feature and short films, earning the nickname “Cinema Marathon” due to his restless pursuit of cinematic art.Islam Al Zeriei – “Flashback”Islam Al Zeriei, born in Gaza, is a skilled TV and documentary filmmaker with a diploma in TV Arts from Palestine College. She has extensive experience in video and photo editing, and has worked with various organizations including Ashtar for Theatre Productions and the Women’s Affairs Center. Al Zeriei is proficient in Adobe software and active in media advocacy.Mustafa Kolab – “Echo”He was born in September 1972. He is a professional with fifteen years of experience in the production of animated films. He uses animation methods for psychosocial interventions with children. He ran the Fekra Arts Institute in Gaza for ten years and worked in theatre productions.Nidal Damo – “All is Fine”Nidal Damo, born in 1971 in Nuseirat, Gaza, is a theatre director and actor. He directed several children’s plays and acted in notable works like All is Well and Sarah. He holds a BA in Social Work from Al-Quds Open University and trains in drama and psychologicalsupport.Khamis Masharawi – “Soft Skin”Khamis has worked on numerous films in the field of decoration. He is a set designer and children’s animation trainer. He is one of the founders of the Fekra Foundation in Gaza, which trains children to engage with the film industry as a form of art therapy.Bashar Al Balbisi – “Charm”Bashar Al Balbisi, a Palestinian from Gaza, is an accomplished dance trainer. He coordinates cultural initiatives and choreographs performances, specializing in traditional and contemporary dance. With experience in educational and cultural institutions, he actively promotes Palestinian heritage through dance and community engagement.Tamer Nijim – “The Teacher”Born in Gaza in 1991, Tamer is a theatre and television artist at Ashtar for Theatre Productions and Training. He holds a BA in Media from Al-Azhar University and a diploma in Acting and Theatre Training. He has participated in numerous local and international theatre productions and festivals.Ahmed Al Danaf – “A School Day”Ahmed Al Danaf, born in Gaza in 1999, is a Palestinian videographer and photographer. He holds a degree in Multimedia from Al-Azhar University and has worked with numerous media organizations including the BBC, ABC News, and Oxfam. Ahmed specializes in documentary filmmaking and media production.
Alaa Islam Ayoub – “Overload”Alaa Islam Ayoub, a Gaza-based content writer and filmmaker, holds a bachelor’s degree in physiotherapy from IUG. Experienced in SEO, literary content, and documentary scripts, Alaa also works as a podcast host and voiceover artist, contributing to various media and academic projects.PART TWOKarim Satoum – “Hell’s Haven”Karim Satoum was born and lives in Gaza. He has taken many courses in theatre and has been working as an actor for five years. He has taken part in many plays. Heaven’s Hellis his first short film.Alaa Damo – “24 Hours”Alaa Damo, a Palestinian from Gaza, has a BA in Public Relations. With seven years’ experience in the arts, he specializes in therapeutic art for children and has worked extensively with local institutions to promote creative expression and peace building through the arts.Aws Al Banna – “Jad and Natalię”Aws Al Banna, 26, from Gaza, is a television and theatre actor, drama teacher, playwright, and director. He studied theatre and his notable works include the series Milad Al-Fajr, Shuhud, and Darb Al-Fida and plays such as Al-Ramadiyun and Rashomon Gate. He has received awards for his children’s theatre projects.Rabab Khamis – “Recycling”Rabab Khamis, born in Gaza in 1997, is a multimedia specialist with a diploma in digital media. She has directed children’s plays and worked as a drama and psychological support trainer. Khamis has acted in various productions and has skills in Adobe, Microsoft Office, CorelDRAW, and others.Etimad Washah – “Taxi Wanissa”Based in Gaza, Palestine, Etimad Washah was the Video Program Coordinator at the Women’s Affairs Centre (2001-2018). She is a director of documentary and fiction films on women’s issues, a trainer in cinematography and editing, and has directed women’s film festivals and student film projects.Mustafa Al Nabih – “Offerings”Mustafa, a Palestinian writer and director, has published novels and plays, directed 25 plays for children and adults, and created numerous documentaries. He has collaborated with various international channels, won 25 awards, and served as a jury member in many film festivals.Hana Eleiwa – “No”Hana, a passionate journalist from Gaza City, is the founder and director of Hana Agency, specializing in visual, audio, digital and multimedia services. She manages the digital channel Hona Al Dafa, advises The Al-Fakhoura\Project, and lectures at the University College of Applied Sciences.Wissam Moussa – “Farah and Myriam”Wissam, born in 1981 in Deir Al Balah, Gaza, is a Palestinian filmmaker and public relations manager at Fursan Al Erada Radio. He has directed several acclaimed films, including 15 in Gazafor Al-Jazeera English, and has participated in numerous international film festivals and conferences.Basel El Maqousi – “Fragments”Born in Gaza in 1971, Basel is a visual artist and freelance photographer. He studied art at the YMCA Gaza and attended the Daratal Fununsummer academy. Winner of the Charles Asprey Award and a UNESCO scholarship, he has exhibited internationally and teaches at the Jabalia Rehabilitation Society.Neda’a Abu Hasna – “Out of Frame”Neda’a, an experienced Palestinian news editor and presenter, holds a Masters Degree in Audiovisual and Cinema from Carthage University and a Bachelors Degree in Mass Communication from Al-Aqsa University. She has extensive experience in radio, film, and news editing.Mahdi Kreirah – “Awakening”Mahdi is a puppet maker and puppeteer who runs a puppet theatre in Gaza. He has produced many plays for children and his productions have been featured on many television programs. He conducts workshops for children to train them in puppet-making and puppeteering.MORE ABOUT FROM GROUND ZEROTHE INITIAL CONCEPTFrom Ground Zero was created by filmmaker Rashid Masharawi and designed to give a voice to the people of Gaza and to document their day-to-day experiences, many of which often go unheard by the outside world
In a war-torn society, where artistic creation is extremely complex, the project sought to capture the diversity of perspectives of Gazans through slice-of-life short films, ranging anywhere from three to six minutes in length. Filmmakers were allowed to tell their story through any genre and cinematic storytelling platform, from fiction to documentary to animation.
SELECTION AND CREATION OF THE FILMS
In order to ensure quality and coherence, a dedicated selection committee was set up to ensure the viability of the short films pitched to be included in the From Ground Zero Project. The committee evaluated every project submitted, giving priority to personal, original stories that focused on the project’s overall message.
Once the 22 projects had been selected, the committee worked closely with the filmmakers to ensure their proper development, from concept to production – tackling real-world obstacles that filmmakers outside of Palestine would never have to consider.
The creation of From Ground Zero required meticulous organization. Tutors based in the Middle East and Europe supervised the projects, while experienced coordinators on the ground in Gaza ensured the technical and human resources needed for filming.
THE HOUSE FROM
The editing is clever. For example, one former owner of Jesse’s house in Breaking Bad house was a teacher, so Avallone cuts to scenes of Walter White in his chemistry classroom. She was able to buy her son his first car from the profits of filming. On the opposite end of the spectrum, the current owner of Walter White’s house aggressively hates tourists.
THE HOUSE FROM counters this negative fan experience with the owner of The Goonies‘ home. Susan Preston got a bad rap. This redemptive story is authentically heartwarming. Bushnell Ave, in South Pasadena, is the ultimate film fan’s dream. From Back to the Future to Old School, it boasts several famous houses, and the owners love the fans. The Rubio House in Altadena is iconic. I lost track of the number of films and television shows listed by the owner, Liz. Ethan Embry visits the house, and his excitement and nostalgia are infectious.
The doc also uses TikTok and other social media clips of fan visits. The behind-the-scenes footage from Home Alone takes the cake. The lovely neighbors across the street took camcorder video from their front yard during the 1990 production, and it is a coup for Gen X and Millennials.
2. The varying visual aspects are so cool, from the black and white to the halo effect. Those specificities keep the audience relatively grounded in Jack’s chaotic “space and time.” What did this storyboarding look like? With all the elements involved, I imagine it was a huge wall or an entire room.
4. Can you tell us about casting Kelly Marie, Chris, and Jack? Their chemistry is magic. Did you let them play with dialogue during the shoot?
5. The set is incredible. As a theatre nerd, it was immersive enough for the imagination to fill in the blanks and for the cast to play on. How did you decide on a unit set?
6. Would you and Nik consider a franchise with new characters? I would be the first person watching the interactions of other people’s minds swirling with what-ifs!
GHOST GAME
I have mad love for 
As an Autism Parent, Vienna Maas does a lovely job portraying Sam, a child on the spectrum. Writer Adam Cesare handles it with such care. I genuinely appreciated both the delicate touch and the representation, so cheers.
Aidan Hughes is hands down one of the best players in this ensemble. His chameleon shifting is bone-chilling. Kia Dorsey gives Laura a fearless passion. She begs your attention in the morally grey area she exists in. She effortlessly leads this large cast, and I look forward to whatever comes next. Casting directors, get your eyes on her ASAP.
The entire cast nails each beat. Kelly Marie Tran oozes charm as Mia. She is so watchable and gives Mia a genuine heart. Chris W. Smith delivers honest best-friend vibes. He’s got that sitcom aura in the best way possible. Jack De Sena is spectacular, running through the emotional gambit. He reminds me of Jack Black, with a loveable quality that draws you in. Discovering that Smith is De Sena’s comedy partner in their popular sketch comedy channel Chris and Jack and now the world makes more sense.
The script is whip-smart. It is a ping-pong match of wits between best friends through self-doubt, anxiety, and depression. The film is a dizzying whirlwind of meta-purgatory, tackling the incredible nuance in relationships and the importance of communication. It’s about owning your shit. Me, Myself, & the Void is one of the best indie gems of the year.
GIRL INTERNET SHOW: A KATI KELLI MIXTAPE
Kelli is a star. She has that sardonic wit you see in Aubrey Plaza. Frankly, if you told me they were blood relatives, I would accept that as fact. Also, it’s impossible to ignore how stunning she is.
The film ends with Kati’s short film, finished three days before her passing. The subject is both ironic and eerie. Going in with the understanding that Kati is no longer with us weighs heavy in the back of your mind. Knowing what a massive star she was and how much bigger she could have been leaves a sting, but GIRL INTERNET SHOW: A Kati Kelli Mixtape celebrates an artist in all her magnificence. It’s an unforgettable film. Kelli lives forever, an eternal celluloid angel. She flies.
VIKTOR
Viktor wants to be a soldier, but his deafness prevents it. His late father instilled “the military spirit,” and by Miyamoto Musashi’s canonical The Strategy of the Samurai, Viktor aspires to a noble warrior philosophy. Facing rejection after rejection, he finally convinces the local army to take him on as a volunteer field photographer. This opportunity to pursue his talent changes his path forever.
The heightened sound editing by Andrew Siedenburg and Nikolay Antonov is a character in the film. There is no better way to articulate its effect. The camera work from Lidia Nikonova swings from following closeups to static long takes, and it is nothing short of magnificent.
There is a theatrical delivery of much of the dialogue. Deragh Campbell is marvelous playing Katy. She delivers a compelling performance, reminding us how much we rely on the family matriarch to set our boundaries. Campbell’s pervasive anxiety flows on the screen.
The film brilliantly captures the poetic chaos of family gatherings. A myriad of intimate vignettes are all swirling together in an authentic picture where time loses all meaning. FAMILY PORTRAIT is haunting in so many ways. It will leave you breathless and wanting more.
DEATH PERCEPTION
CATHARSIS
Summoning Sylvia
Everything from the lighting, the lens, costumes, set design, the score, hair and makeup, and the jokes nail the era. Along with the live tape, black and white behind-the-scenes footage shows us what the at-home audience missed. 
David Dastmalchian owns every frame as Jack Delroy. A delicious mix of genuine and fame-hungry, his effortless performance is mesmerizing. He has the audience in the palm of his hand. You cannot take your eyes off of him. 
Filmmaker Kailee McGee shares snapshots of her innermost thoughts on her journey with breast cancer. Tongue in cheek, manic, clever, stream of consciousness, unfiltered, and hilariously meta, CAN feels revelatory. It is celebratory irreverence. McGee makes her situation relatable and palpable. She is raw and funny as hell. I would 1000% watch a feature-length version. It has that “it” factor, and McGee owns every bit of its magic.
Dr. Franklin Caul has created a simulated consciousness with the dead. The DOJ wants it, but Caul has ulterior motives. The tech uses data from the deceased to have conversations or seek answers. In the mix is a swirl of overlapping thoughts and confusion that get under your skin. You cannot help but listen to them, and they are chilling. Caul observes that when suicide is the cause of death, the deterioration of self slows.
What might sound crazy is that this tech already exists. Customers can pay several different companies worldwide to build an AI version of their past loved ones. A recent Sundance documentary, 
The film takes place in a single location where The Interviewer records her podcast. The secluded and expansive modern mid-century estate allows her to wander, but most of the action happens at a desk or in front of the wall of windows that contain her discoveries. Our journalist creates an episode of her first phone calls. Editing the calls at her will, the audience questions her culpability. This small moment puts your morality compasses in a tailspin. It is a slick move from writer Lucy Campbell. Podcasts are my nightly ritual, cleaning motivation, and my travel companion. Since SERIAL, the industry has exploded. In MONOLITH, the story goes viral. People begin contacting her directly with their stories, always warning her to stop.
At some point, the danger reaches the front door of our journalist’s secluded location when she receives a package related to the mysterious story. The darkness attached to the object feels slightly Faustian and not of this planet. No one remembers how they received their object, but each reaches a point in questioning where they feel compelled to hang up out of fear.
Is this a case of mass hysteria? In many ways, the plot mirrors today’s conspiracy groups like QAnon. Our leading lady goes down the rabbit hole, and the audience follows. MONOLITH boasts a jaw-dropping final ten minutes. This is one hell of a sci-fi thriller. It is a must-see.
DIG! XX
To find out more information on all things Sundance 2024, head to 
As a whole, DISTANT TALES tackles all the chaos of lockdown in complex ways. Each story gets under the audience’s skin for vastly different reasons. If nothing else, Bitterman’s keen observation of human desperation will undoubtedly have people talking.
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