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In her book , The Monarchy of Fear , American philosopher Martha Nussbaum rings an alarm bell over the devastating impact of trepidation on democracy. She stressed that the terrorising mechanisms used by people in power to realise their political visions stand in contrast to the free and healthy essence so-called democratic societies believe they possess.
Fear is not only endemic to policy-making, but to all facets of contemporary life, including art. Since 7 October , art organisations the world over have been scrambling to deal with the Gaza question, a question that has proven more polarising in the West than any major issue in recent memory.
Film in particular has adopted more precautionary measures than other disciplines. Unlike Russia and Ukraine, Trump, the Iraq War , or the Iranian Mahsa Amini protests, film festivals have deliberately chosen not to take any formal stance against Israel or with Palestine. They insist festivals should stand as democratic platforms for all points of views even as Russian films and Syrian Assad government-backed productions continue to be blocked from the international film scene.
Instead, festivals have chosen to offer Middle Eastern film selections that dance around the topic, indirectly carrying their pro-Palestinian sentiment without making an overt statements while also allowing space for artists to express their solidarity with the Palestinian cause.
Headlining the selection was Mond Moon the highly anticipated sophomore feature of Iraqi-Austrian filmmaker Kurdwin Ayub, who made a splash on the festival scene with her debut, Sonne , about a veiled Kurdish teenager in Vienna who is transformed overnight into a mini-celebrity after her rendition of Losing My Religion goes viral. While her debut provided a rare portal into the complex lives of young Arab-Austrian teenagers, her second feature explores the uneasy relationship between middle-class Europeans and an Arab culture they cannot fathom.