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WThis writing hat can be missing in the production of films that can be visually and emotionally charged. British neurosurgeon Mohammad Tahir and his colleagues, who also work with cameras, are working in Gaza hospitals that are not working during the days and nights of the war in the winter of 2024-2025. Powered by The US subsidiary of FAJR Globalwho provide medical care to the world’s most needy people, Tahir works in bombings and darkness without much medical equipment, sometimes treating patients on the ground in a puddle of blood because there are no gurneys. This is often hard to see, not because of all the violence; most of the victims are children, among whom Tahir and the others dig up bullets and small pieces of tungsten, thin cracks. designed to do more damage.
With his matinee star looks, steady composure and unruffled air, Tahir makes the perfect guide to all this chaos. Often he soldiers stoically on, but cool melts when For example, he discusses how he had to remove the chin randomly attached to the patient’s wound. Later, he treats a little girl who lost her arm in a bomb blast; they manage to reunite the family after finding the amputated limb in the ruins of their house. The film could have started off feeling like a never-ending, endless barrage of doom and bloodshed but the filmmakers wisely provide a few moments of respite, such as a sequence where Tahir and his fellow medics enjoy a day at the beach. Likewise, the scene where he laughs at the medical student bent over his textbooks lessens the sadness.
The final scene, shot after the cease-fire declaration, presents a picture of a group of refugees walking long distances to their home, a picture of human endurance that cannot be shaken. There’s no political discussion here, let alone the details of what led to the tragedy, but the images speak for themselves, powerfully in a way that regular stories can’t match.