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'No Other Land' filmmaker Hamdan Ballal detained by Israeli forces after he was allegedly attacked by settlers

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'No Other Land' filmmaker Hamdan Ballal detained by Israeli forces after he was allegedly attacked by settlers

Filmmaker Hamdan Ballal, one of the two Palestinian co-directors behind the Oscar-winning documentary “No Other Land,” was detained Monday in the occupied West Bank by the Israeli military after he was allegedly brutally attacked by settlers.

Israeli journalist Yuval Abraham, who co-directed “No Other Land,” wrote Monday on X that “a group of settlers just lynched” his collaborator. “They beat him and he has injuries in his head and stomach, bleeding.”

“Soldiers invaded the ambulance he called, and took him,” Abraham added in his post, which was shared in English and Hebrew. “No sign of him since.”

Anna Lippman, a delegate for the activist group Center for Jewish Nonviolence who recorded and shared video of the attack Monday, told The Times via social media that more than a dozen settlers attacked the Palestinian village Susiya in the Masafer Yatta area, destroying property. During the attack Monday evening, Ballal was “injured by settlers.” He was receiving treatment in an ambulance for injuries to his head, which included swelling and bleeding, when “soldiers came and took him and two other Palestinian men from Susiya,” Lippman said.

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“We do not know where he is or his condition,” she added Monday.

The Center for Jewish Nonviolence shared dashcam footage on Bluesky of someone shoving three people and punching one member of the group. The video later shows a person — whose face is covered by a mask — joined by several others, picking an object from the ground and hurling it at the vehicle, destroying the windshield. Video recorded and shared by Lippman shows an alternate angle of the confrontation.

Activist Josh Kimelman, who was present during the confrontation, told the Associated Press Monday, “We don’t know where Hamdan is because he was taken away in a blindfold.”

Abraham did not immediately respond to The Times’ request for additional comment.

In a statement shared to The Times, a spokesperson for the Israel Defense Forces said a “violent confrontation” broke out in Susiya after several people it described as “terrorists” allegedly hurled rocks at Israeli citizens and damaged their vehicles. The incident involved “mutual rock-hurling between Palestinians and Israelis at the scene,” the statement said. IDF said its members and Israel police responded “to disperse the confrontation,” and that the people it described as “terrorists” allegedly started hurling rocks their way.

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IDF and Israel police detained three Palestinians and an Israeli person allegedly involved in the confrontation. The four detainees were taken for further questioning by Israel police and one Israeli person was evacuated to receive medical treatment, according to the statement. IDF also denied allegations that a Palestinian was detained from inside an ambulance.

The Times has confirmed that Ballal was indeed among the three people detained Monday evening. He was detained on suspicion of hurling rocks at IDF and police.

Support for Ballal poured in Monday afternoon as news of his detainment spread. Palestinian activist Basel Adra, who also co-directed and appears in “No Other Land,” tweeted about Ballal’s apprehension and shared a photo of a person with both hands behind their back being escorted into a vehicle adorned with an Israeli flag. He said his collaborator “is still missing after soldiers abducted him, injured and bleeding.”

He added: “This is how they erase Masafer Yatta.”

The International Documentary Assn. released a statement in support of Ballal, who they allege was “violently attacked and kidnapped in the West Bank,” and urged his release. The missive also demanded that the filmmaker’s family and community “be informed about his condition, location, and the justification for his detention.”

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“No Other Land,” directed by Abraham, Ballal, Adra and Israeli filmmaker Rachel Szor, is a harrowing documentary that chronicles Israel’s demolition of Palestinian villages in Masafer Yatta to make way for an Israeli military training ground, displacing families and communities. The film won the documentary award at the 2025 Academy Awards.

Recently, “No Other Land” found itself in the center of tension in the Miami Beach cinema scene. Earlier this month, Miami Beach Mayor Steven Meiner threatened to pull grant funding from the O Cinema and end its lease on city-owned property if it screened the documentary. In a letter sent to the movie house, Meiner called the film “a one-sided propaganda attack on the Jewish people that is not consistent with the values of our City and residents.”

Meiner withdrew his threats last week.

In a statement, Abraham hit back at Meiner’s previous criticism that “No Other Land” was “egregiously antisemitic.”

“When the mayor uses the word ‘antisemitism’ to silence Palestinians and Israelis who proudly oppose occupation and apartheid together, fighting for justice and equality, he is emptying it out of meaning. I find that to be very dangerous.

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“Censorship is always wrong,” Abraham added. “We made this film to reach U.S. audiences from a wide variety of political views. I believe that once you see the harsh reality of occupation in Masafer Yatta in the West Bank, it becomes impossible to justify it, and that’s why the mayor is so afraid of ‘No Other Land.’ It won’t work. Banning a film only makes people more determined to see it.”

Times staff writer Mark Olsen contributed to this report.

Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

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Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

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An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

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Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

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Michael Jackson documentary set to release after massive re-write

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Michael Jackson documentary set to release after massive re-write
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‘Michael’ — a new movie about the King of Pop – is drumming up big buzz. The film was produced in-part by the co-executors of the late singer’s estate, and has some critics questioning whether it is too focused on sanitizing the singer’s troubled image.

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