(Spoiler/Originally published on Yinghuashoumin website 1-8-14) In the first half of the movie, the protagonist Omar climbed the wall several times. That wall is a security facility that Israel has erected along the Israeli-Palestinian border (the West Bank area) since 2002[1]. The wall is eight meters high, so Omar has to rely on a thick rope that goes through the top of the wall to climb over, taking bullets at any time in the process. Some viewers who have seen the synopsis and know that the play is based on the theme of "Infernal Affairs between Israel and Palestine" may think that crossing the wall is like smuggling. Unexpectedly, he turned over from his home in Palestine on one side, and Palestine on the other side. It turned out that the separation wall did not really stand along the original dividing line, but was forcibly drawn into the area inhabited by Palestinian civilians, hindering their daily life. "Fate Over the Wall" is not just about politics, but also about friendship and love; Omar has to risk his life every time he crosses the wall to get to the homes of his best friends and loved ones. When oppression has become a daily state, so is resistance. Omar and his friends Amjad and Tarek (brother of his lover Nadia) are part of the guerrillas fighting against the Israeli occupation. Omar was supposed to marry Nadia after a sniper operation, but was arrested before it happened. The wall from the beginning has created barriers not only in Omar's geographical living area, but also in the interpersonal and spiritual dimensions of his private sphere. Israeli intelligence agent Amir used "Nadia's secret" as a bargaining chip to threaten him, forcing him to return to the rebel group as a mole and help them capture Tarek (the regional leader of the rebel group, who was mistaken for the murderer who killed the Israeli soldiers, but Amjad was the murderer). Nadia is the most important person to Omar, so she can only pretend to agree and reply freely. Unexpectedly, he found out that Amjad and Nadia were secretly communicating with him; and when he returned to the resistance organization, he confessed that he had been lured into a traitor. Afterwards, Omar was regarded as a traitor by his compatriots, and he and Nadia distrusted each other; Amir of Israel, let alone Amir, had always used Omar with suspicion. The wall became a symbol, a barrier imposed by external forces that took advantage of the opportunity to invade the "inside". Omar can "climb over the wall", just like he always tries to set things right, try to communicate and return to "normal". So, while he doesn't jump over the concrete wall at the beginning of the film, he actually just jumps over the wall of trust and destiny - but when he finally breaks down, it is like the last time he walked under the high wall at the end of the film. , but could not climb up, crying helplessly. Pakistani director Hany Like its predecessor, Paradise Now, Abu-Assad tends to sympathize with the Palestinians, but the emphasis is on universal common sense. For Omar, the biggest challenge comes from the inside, not the external threat; or, the destructive force from the outside (military and political forces on both Israel and Palestine) is terrifying because it destroys the inside of the person (humanity and trust) . When Omar was released from prison for the second time, he once again assumed the role of "handing over Tarek" as a traitor, but this time no one trusted him - except for Amjad - not because of his loyalty, but because he was the one who betrayed his friend people. Omar forced him to reveal what the Israelis called "Nadia's secret", and the result was a bolt from the blue. He forces Amjad and Tarek to "showdown", only to let Tarek die in the chaos, accidentally "complete the mission", only to claim credit to Amir by mistake. Because of "Nadia's Secret", heartbroken Omar handed over Nadia to Amjad, and also gave his "wife book". Good people have done their best, and since then, they will stay on the side of the wall - until Amir reappears two years later, and continues to use Nadir to threaten him to be "two or five boys" again. So he had to climb over the wall again, but he couldn't get over it by himself and asked for help. If the high wall symbolizes the obstacles between people, it can be seen that things are right and wrong. Omar is not driven by love and friendship as before, but is full of contradictions and reluctantly turns over. Seeing Nadia this time, relatively silent at first, Omar learns from her a more shocking truth than anything she has heard before - that he has been living a lie for two years and has cost him everything. Then, he asked Amir for a pistol, as if to seek revenge on Amjad, but at a critical moment, the gun was pointed at the Israeli who refused to let him go and repeatedly threatened and lured him to betray his friends. "Fate Over the Wall" and the Israeli film "Bethlehem" were released in the same year and have similar themes. But "Holy" has more negative portrayals of Palestine, mainly about the internal struggle between the self-government (Fatak), Hamas and other militants. main character Sanfur is younger than Omar and doesn't have a clear target like the latter, so his mentality is more swaying, both loyal to his brother Ibrahim (the mastermind of the human bomb attack), and to Israel's contact person Razi. Feeling attached. Tarek and Razi came close and ended up being killed; in the end the protagonists were both facing off against the Israeli manipulators. However, Sanfur is not as firm as Omar: even though the situation keeps changing, for the sake of his loved ones, when he wants to "over the wall", he will act decisively without hesitation; the former will go to the end and still have hope for the "national enemy" , hoping to be fully accepted and let the other person take him out of the current predicament. Both plays end in tragedy, ending with their killing of the "Israeli manipulator", but common sense tells the audience that the protagonist must die. Omar killed Amir, after some struggles, because Amjad did betray him, he could choose to seek revenge against Amjad, but he still decided to point the gun at Amir, because of the Israelis' coercion and temptation against him and Amjad (behind the Israel's half-century-old occupation of Palestine) is the source of the pain - Israel has always been the one building the wall, not Amjad. Sanfur is because he confirmed that Razi's concern is not sincere, that intimacy is false, he feels betrayed and deceived; the moment he kills, he is not as angry as Omar, but heartbroken and sad. The violence between the Israeli-Palestinian conflict is not just the international news we watch from a distance across a screen; these films show how that destructiveness can reach the hearts of ordinary people and destroy human relationships. The mobile phone in "Infernal Affairs" acts like a wall in "Fate Over the Wall," but with an irony, because the tool used to communicate can also lead to lies and conflict. In the selection of key symbols, "Fate" is even better - this is due to the special position of the separation wall in the history of Israel and Palestine and the subtle fit between the protagonist's personal encounters, "Climbing the Wall" constitutes a unique gesture of resistance . Notes: 1. Strictly speaking, it is based on the border between Israel and Jordan (known by the international community as the "green line") at the end of the first Middle East war, after the armistice between Israel and the Arab League in 1949.
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