TL;DR
Get art and craft supplies delivered free — and shop member deals
- Fast, free delivery on millions of items
- Access to Prime Big Deal Days deals on October 6–7
- Prime Video, Amazon Music and more included
Hyperallergic editor-in-chief Hakim Bishara’s essay “Between Worlds” recounts his response to a New York Film Festival screening of a documentary about Edward Said. The personal account connects grief, family, art and reflections on Jerusalem and New York; the supplied material does not give the film’s release details or a separate announcement about it.
Hyperallergic editor-in-chief Hakim Bishara recounts attending a New York Film Festival screening of the Edward Said documentary “Between Worlds” in a first-person essay that links the film to his conversations with his young son about death, encounters across New York and memories of Jerusalem, Haifa and Nazareth. The supplied source presents the piece as a personal reflection, not as a review or a report on a new film announcement.
Bishara opens with a morning routine: getting ready and driving his son, René, to kindergarten. In the car, René asks, “What’s the point of all this?” Bishara connects the question to a conversation the previous day about death and his difficulty explaining where his own father might be after death. The essay carries that uncertainty into its account of the screening and the city around it.
Before the film, Bishara describes attending an event at the International Studio & Curatorial Program in Brooklyn, eating several fortune cookies, and later taking shelter in a Bushwick spot during heavy rain. He also notes a nearby conversation about Islam and slavery. Days later, he writes, the Milwaukee Art Museum returned two jars to descendants of Dave the Potter, a Black American artist who was enslaved for much of his life in the 19th century. These moments appear as observations in his account, rather than as a single argument about the film.
On his way to the screening, Bishara recalls being irritated by a subway passenger’s “coexistence” shirt. Inside the theater, he says he cried throughout the movie. The essay closes with him looking at his reflection in a Hermès store window and imagining Jerusalem, Haifa and Nazareth alongside New York and his son’s face. The source does not provide the screening date, the documentary’s director, or details about its wider release.
A Film Seen Through Family and Place
The essay matters as a record of how a festival screening prompted a personal response to grief, parenthood and belonging. Rather than offering a plot summary or formal assessment, Bishara places his emotional reaction beside ordinary city encounters and questions about history, religion and memory. Readers get his account of the film’s effect on him, but not enough information to judge the documentary’s content or reception more broadly.
Its closing images give the piece a geographic focus: Bishara’s imagined return to Jerusalem, Haifa and Nazareth sits alongside his present life in New York and his relationship with René. That juxtaposition helps explain the title’s resonance in the essay, while remaining the writer’s own association rather than a stated description of the film’s themes.
As an affiliate, we earn on qualifying purchases.
From a Morning Drive to the Screening
The source is a Hyperallergic newsletter page combining Bishara’s signed essay with other art coverage and newsletter items. The title, “Between Worlds,” appears in the essay’s account of a New York Film Festival screening of an Edward Said documentary. No publication date or festival year is included in the supplied material, so a more precise timeline cannot be established from it.
The essay moves through separate events and observations rather than laying out a continuous account of the documentary: René’s question about life’s purpose, a Brooklyn gathering, a conversation overheard in Bushwick, the museum’s return of Dave the Potter’s jars, and the subway trip to the screening. The Milwaukee Art Museum return is described as having happened “days later” than the Bushwick encounter; the source gives no exact date for either event. These details provide the immediate setting for Bishara’s reaction without establishing that they were connected to the film or its production.
““What’s the point of all this?””
— René, Bishara’s son, as recalled by Bishara
As an affiliate, we earn on qualifying purchases.
Film Details Not Included
The source does not state when the essay was published, which edition of the New York Film Festival hosted the screening, or who directed the documentary. It also provides no synopsis, production details, distribution plans or information about subsequent screenings. Bishara’s description establishes that he attended and cried during the film, but the piece does not identify what prompted that response.
The essay is explicitly personal and should not be read as an independent account of the documentary’s reception. The source also does not explain whether the museum’s return of Dave the Potter’s jars was related to the screening; it appears as one event among the writer’s observations. Those points cannot be resolved from the supplied material.
As an affiliate, we earn on qualifying purchases.
Further Film Information Needed
The supplied report gives no upcoming screening, release date or follow-up from the festival, filmmaker or distributor. Readers seeking details about the documentary’s availability or full credits will need a separate film or festival source. Until then, the confirmed development here is the publication of Bishara’s first-person account of seeing the film, not a newly announced release or program.
As an affiliate, we earn on qualifying purchases.
Key Questions
What is “Between Worlds” in this report?
It is the title of an Edward Said documentary that Hakim Bishara says he watched at a New York Film Festival screening. The source does not provide further film details.
Who wrote the essay?
Hakim Bishara, identified in the source as Hyperallergic’s editor-in-chief, wrote the first-person account.
What does Bishara say about the screening?
He writes that he cried throughout the movie. He does not specify which scenes led to that reaction.
When was the screening or essay?
The supplied source does not give a date or festival year. It identifies the screening as taking place at the New York Film Festival.
Does the source give a release date for the documentary?
No. It includes no release schedule, distribution information or details of future screenings.
Source: rss
Halloween Picks
halloween
As an affiliate, we earn on qualifying purchases.
