Still image from Rachel; inset: Simone Bitton
I think they had a pro-Palestinian agenda, and I don’t think that having a pro-Palestinian agenda means having an anti-Israeli agenda. Actually, as an Israeli, I have a pro-Palestinian agenda, and I think that when life will be normal and reasonable for Palestinians, it will be much better for Israelis too.
I don’t think it’s an insult to say that somebody has a pro-Palestinian agenda. If it means that somebody is committed to more justice for the Palestinians, who have been oppressed, bombed, caged, occupied, it’s very good to have a pro-Palestinian agenda. It’s not only good, it’s absolutely needed if you don’t want the Middle East to explode in the face of the world, more than it has exploded already.
Andrew O’Hehir, Salon, May 3, 2009
Interview with Simone Bitton
Perhaps the most interesting aspect of Simone Bitton’s documentary “Rachel,” which premiered this week at the Tribeca Film Festival, is what’s not in it. Bitton, a Moroccan-born Jewish filmmaker who spent many years in Israel and now lives in France, conducts a philosophical and cinematic inquiry into the death of Rachel Corrie, the 23-year-old American activist who was killed under ambiguous circumstances in the Israeli-occupied Gaza Strip in March 2003. But the political firestorm that followed Corrie’s death, which saw her beatified as a martyr for peace by some on the left and demonized as a terrorist enabler by some on the right, is virtually absent from the film.
We do not see the infamous photograph of the keffiyeh-clad Corrie burning an “American flag” — not a real flag, but a crude children’s drawing of one — at a demonstration about a month before her death. Nor do we see the torrent of exaggerated and often shocking verbal abuse to which Corrie was subjected, postmortem, on right-wing bulletin boards and Web sites. Corrie, who suffered massive internal injuries when she was either crushed by a bulldozer or buried under construction debris, was routinely dubbed “Saint Pancake” in such venues, or described as “terrorist-loving swine.” (That’s without getting into the grotesque sexual fantasies and elaborate conspiracy theories.)
Bitton approaches Corrie’s death from an Israeli point of view, which means she sees it quite differently from the way Americans do. For her, it’s partly a forensic puzzle — an episode of “CSI: Gaza” without a clear resolution — and as a philosophical challenge to the military and political status quo. It’s important to understand that within Israel, Corrie’s encounter with a military bulldozer (an enormous armored machine called the Caterpillar D9, built in the United States to Israeli specifications) and the subsequent investigation were a relatively minor news blip, not the full-on media frenzy we enjoyed.