A fourth section examines the political meanings and the Orientalist overtones that are embedded in the process of gendering Israel and Palestine through the protagonists, arguing that Strangers affirms IsraelвЂ™s cultural and moral superiority and silences the structural violence of both the occupation and the dispossession of the Palestinians. The third section is a close reading of the 2007 film that examines the cinematographic construction of the European space in the subjectivity of the Israeli protagonist, namely the tension between the European metropolis as an apparent multicultural liberal landscape and an underlying subtext pointing to European practices of exclusion that bring the Israeli Jew closer to the Arab undocumented migrant. The second section examines two previous short films by the directors, Strangers (2003) 1 and Offside (2006), which depict European practices of discrimination and football as the cultural space where the Palestinian and the Israeli can get closer. ДЈ The introductory section briefly calls attention to the pervasiveness of ShakespeareвЂ™s play as a hypotext to address conflicts where the individual may feel coerced by the expectations of his/her community.

1 I n this paper the 2003 short film will be referred as Strangers (I).

Hence, the analysis of Strangers is not based on the premise that films are (or are supposed to be) mimetic objects of reality, but assumes that a film, as any other work of fiction, unveils how a member of a given culture/society produces meanings about his/her reality through the use of the language he/she disposes of in order to influence the context where he/she is integrated. The film is analysed as a representation in the sense put forward by Stuart Hall (1997): as a construction of meanings through language as a representational system. The film loosely integrates elements from ShakespeareвЂ™s play Romeo and Juliet and uses the archetype of the star-crossed lovers to approach the Middle East conflict.Дў This paper questions how the original structure, which relies on a rivalry between two identical parties (noble families from Verona), who share the same values, is transposed to a setting where the power relations are marked by inequality, by one groupвЂ™s dispossession in favour of the other groupвЂ™s territorial expansion. 1 The Israeli film Strangers (Erez Tadmor/Guy Nattiv, 2007) is about Rana (Lubna Azabal), an exiled Palestinian woman from Ramallah living in Paris, and Eyal (Liron Levo), a former Israeli soldier from a kibbutz, who accidentally meet in Berlin during the World Cup, when the 2006 Lebanon war is about to break out.

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