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Hyperallergic published “Between Worlds,” an essay by editor-in-chief Hakim Bishara that recounts his reaction to a screening of an Edward Said documentary at the New York Film Festival. The piece connects that experience with memories of his father, his young son René, and images of Jerusalem, Haifa, Nazareth and New York. The supplied report does not give the film’s release details or identify its filmmakers.
Hyperallergic editor-in-chief Hakim Bishara recounts an emotional response to a screening of an Edward Said documentary titled Between Worlds in a first-person essay published by the art publication. The piece places that experience alongside everyday scenes in New York and questions about family, death, memory and the places Bishara calls home.
Bishara’s essay begins with a morning drive to take his young son, René, to kindergarten. René asks, “What’s the point of all this?” after the two had discussed the previous day that Bishara’s father had died. Bishara writes that he struggled to explain where his grandfather might be. That exchange supplies a personal thread for the essay’s reflections on mortality and meaning.
Later, on his way to the New York Film Festival screening, Bishara notices a subway passenger wearing a shirt spelling “coexistence” with symbols from major religions. He writes that the man annoyed him because he was blocking his way. During the film, Bishara says, “I cry and cry and cry.” The essay does not give a review of the documentary or detail its scenes; instead, it describes the screening through the writer’s own reactions and observations.
The piece ends with Bishara pausing outside a new Hermès store on Berry Street. Looking at his reflection in the window, he says he sees Jerusalem, Haifa and Nazareth, as well as New York and his son’s face. The source identifies the screening as part of the New York Film Festival but does not provide the film’s director, production details or screening date.
A Film Screening Through Family Memory
The essay’s news value lies in its account of how a film screening became a point of connection between private grief and public places. Bishara links the question of his father’s death with René’s uncertainty, then moves through New York scenes before arriving at memories of cities in the Middle East. These are the writer’s personal associations, rather than claims about the film’s intended meaning.
For readers following art and film coverage, the piece offers a first-person response to a documentary about Edward Said, the Palestinian American literary critic and public intellectual. It also shows how Hyperallergic’s newsletter combines cultural coverage with personal essays. The source, however, gives no further information about the documentary or its broader reception, so the significance of the film itself cannot be assessed from this report alone.
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The Essay’s New York Journey
Bishara frames the essay as a sequence of moments from daily life and the city: taking René to kindergarten, attending an event at the International Studio & Curatorial Program in Brooklyn, sheltering from rain in Bushwick, and traveling by subway to the festival screening. The piece also mentions a Milwaukee Art Museum return of two jars to descendants of Dave the Potter, an enslaved 19th-century Black American artist. That reference appears among the essay’s observations; the supplied material does not establish it as a related development in the documentary’s story.
The source page presents “Between Worlds” within a Hyperallergic weekly newsletter that also lists other art news and coverage. Those newsletter items are separate from Bishara’s essay. The available material gives no publication date for the essay, no full festival program information and no account of whether the film has screened elsewhere.
““What’s the point of all this?””
— René, Bishara’s son, as quoted in the essay
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Film Details Remain Unspecified
The supplied source does not identify the documentary’s director, production company, running time, release plans or exact screening date. It also does not describe the film’s content beyond identifying it as an Edward Said documentary, so readers cannot infer from the essay whether it focuses on a particular period or aspect of Said’s life and work.
The source presents Bishara’s experience as a personal essay, not a report on audience response or festival reception. It is unclear whether the film has other scheduled screenings or a distribution deal. No claims about those matters are confirmed in the material provided.
cityscape wall art Jerusalem Haifa Nazareth
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Festival and Release Details Await
The source confirms that the screening took place at the New York Film Festival, but lists no future screening, release announcement or filmmaker statement. Readers seeking those details will need information from the festival or the film’s distributors and production team. Hyperallergic’s source page supplies no follow-up date or planned update.
For now, the confirmed development is the publication of Bishara’s essay and its account of attending the screening. Any wider release plans or additional critical response remain unreported in the supplied material.
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Key Questions
What is “Between Worlds”?
It is the title of Hakim Bishara’s first-person Hyperallergic essay, and also the title given in the source to an Edward Said documentary screened at the New York Film Festival.
What does Bishara say about the screening?
Bishara writes that he cried during the film. The essay does not provide a detailed plot summary or a conventional review.
What themes does the essay connect?
The piece links Bishara’s memories of his father and conversations with his son to observations around New York and images of Jerusalem, Haifa and Nazareth.
Who made the documentary, and when will it be released?
The supplied source does not name the filmmakers or provide a release date, distribution information or details of further screenings.
Source: rss
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