Farah Nabulsi doesn’t just make films—she gives voice to stories that too often go unheard.
A British-Palestinian filmmaker, writer, and human rights advocate, Nabulsi has emerged as one of the most powerful cinematic voices from the Arab world. Her breakout short film “The Present”, which earned an Academy Award nomination and won a BAFTA in 2021, captivated audiences with its poignant portrayal of life under occupation, told through the quiet, emotional lens of a father and daughter on a seemingly simple errand.
With a background in finance and no formal film school training, Nabulsi’s pivot to filmmaking wasn’t just a creative shift—it was a calling. Driven by a desire to challenge dominant narratives and shine a light on the daily realities of Palestinians, her work is as visually poetic as it is politically resonant. Her storytelling is subtle, yet emotional, layering realism with empathy to ask difficult questions without forcing answers.
Today, Nabulsi stands at the forefront of a new wave of Arab filmmakers using cinema as a tool for cultural resistance, social commentary, and nuanced representation. Her latest projects continue to push boundaries, amplifying perspectives from the Middle East and beyond with artistry and intention.
Here, Nabulsi speaks candidly about reclaiming the narrative, finding truth through film, and how her identity as a Palestinian woman continues to shape her voice as a storyteller in a global industry.
How did you fall in love with film, and what does it mean to you?
From as early as I can remember, I’ve loved cinema, theatre, and drama. Certain films I watched growing up had a profound impact on me, shaping my understanding of storytelling, and I performed as the lead role in a number of school plays. However, it wasn’t until much later in life that I pursued it as a career. That decision came with a deeper realisation: that cinema is more than just entertainment; it is one of the most powerful and meaningful forms of human communication and artistic expression the world has ever known.
For me, filmmaking is an act of resistance, a form of storytelling that carries both urgency and purpose. It is a way to stand in solidarity with the marginalised, the silenced, and the misrepresented, those who exist on the receiving end of oppression and injustice. As a Palestinian by heritage, cinema has also become a means of exploring and expressing my own identity. It allows me to give voice to those who have been forcibly silenced or ignored while getting to know myself better. Using artistic expression is not just a form of catharsis but also a means of telling stories that matter.
In many ways, filmmaking has become a kind of alchemy for me; the transformation of outrage, grief, and the deep disturbance I have felt in the face of the injustice I’ve witnessed in militarily occupied and colonised Palestine specifically, into something powerful, meaningful, deeply human, and I hope, inspiring.
Last time we met, you were about to head to the Oscars – tell us about that experience and what has changed in your life since then.
That experience was truly unique. It was right after COVID, so it was unlike any Oscars ceremony prior or since. With a reduced attendance of around 400 people instead of the usual 4,000 at the Dolby Theatre, it felt much more private and personal. It was an exciting, whirlwind experience in the lead-up, during, and after.
What the Oscars did was create momentum and draw attention to my next project, “The Teacher”, which had its MENA cinema release last year and is now available on video on demand in the Middle East and North Africa. I believe that without the credibility gained from the accolades of The Present, including the Oscar nomination, I wouldn’t have been able to make The Teacher in such a short time or with the budget we did. The recognition opened doors and allowed me to be taken more seriously as a filmmaker.
Since then, it’s been a non-stop journey, but all in a positive direction. On the other hand, the last year and a half has been incredibly difficult, particularly given the ongoing genocide in Gaza. As you know, my films are deeply connected to the realities on the ground in Palestine, and this period has been devastating. But despite the challenges, I am forever grateful and privileged to have The Teacher to share with the world during this crucial moment in the discourse surrounding Palestine.
What was the feedback from “The Teacher” movie and the recognition it gained, and how has it helped you decide on the future trajectory of your career and the films you make?
The reaction to The Teacher across the world has been incredible. The film has had numerous theatrical releases, following screenings at dozens of international film festivals. It has garnered over 18 international awards, primarily audience awards and best actor awards, which is always a wonderful recognition for a film.
In terms of shaping the trajectory of my career, I wouldn’t say The Teacher has defined a specific path for me. My goal remains to express myself creatively, to explore varied projects, and to follow wherever my artistic instincts lead. That said, I know with certainty that I will continue to make films connected to Palestine. These are stories that hold deep meaning for me, not just because they speak to my identity as a Palestinian, but as a human being in these darkest of times.
What are you currently working on, and what else is in the pipeline?
At the moment, I’m still very much involved with the distribution of The Teacher, which means a lot of travel, Q&A events, and media engagements. It’s been a full-on but rewarding process, connecting with audiences around the world. The genocide in Gaza continues, as does the escalation of military violence and annexation in the West Bank, so this film still feels incredibly important to continue serving. It also continues to work as a release for me personally in resistance and defiance against all the hypocrisy and violence we are witnessing against our brothers and sisters.
In terms of what’s in the pipeline, I’ve co-written a screenplay with a talented Lebanese-American writer set in cool-Britannia late 1990s London. It’s a crime, finance drama – greed is bad, as well as exploring elements of mental illness. It’s loosely inspired by a personal experience I had many years ago during my years as an investment banker. On the other hand, I’m also just finishing a drama-comedy screenplay, set between Palestine and Ireland, which I’m particularly excited to bring to life. That said, I’m keeping the details of both projects close to my chest for now, but I’m keen to get strong producers on board for both projects.
You spend a lot of time shooting in war-torn areas across the region and areas where many people are struggling. How do you deal with some of these terrible experiences, and how do you think film can help shed light on global issues?
I deal with it by creating. When you witness injustice up close, especially in places marked by conflict and suffering, you carry a kind of moral trauma. But channelling that pain into storytelling becomes a way to process it – to release it. My work becomes a conduit, an outlet for the outrage and sorrow I feel, and a way to make sense of the weight of what I’ve seen and become so acutely aware of. There is truly nothing more cathartic, and even spiritual, than the act of creating. It’s how I cope, and how I try to turn pain into purpose.
In terms of how I think film can help shed light on global issues, cinema has a unique ability to humanise what might otherwise remain abstract or distant. It can cut through noise, headlines, and political rhetoric to reach people on an emotional and psychological level. By telling nuanced, intimate stories rooted in truth, cinema can shed light on global issues in a way that invites empathy, understanding, and sometimes even action. For me, that’s the power of film. It doesn’t just inform, and it shouldn’t just entertain; it connects.
What have you learnt about the industry over the past few years?
Honestly, what I’ve learnt is that it’s a lot harder than it looks! It now makes sense why it does not have as many people pursuing this line of work as you would think, and it is very tough to make a living at it. I have also learnt that it’s quite messy and haphazard and leans towards the sales agents, distributors, and exhibitors rather than the creators, which is a shame. It is certainly not as glamorous as most perceive it to be, either. It is, however one of the most exciting and personally rewarding industries to work in, from my perspective at least.
What’s been the biggest challenge?
Sadly, the biggest challenge, and that seems to be the case for most independent filmmakers, is funding. There are plenty of great stories that should be told, and talented people who can tell them, but sadly, so much does not get made, or takes ages to make, because of a lack of funding. Also, there is the aspect of distribution, which can be very challenging. It can be very hit or miss, especially when we are talking about independent cinema (rather than studio-produced), which is more my world.
We know you are very passionate about writing and directing your own films – tell us about that and why you prefer this method.
I’ve come to realise that while I’m open to directing a project, I haven’t written – provided it resonates with me on a deep, personal level and the script is truly exceptional, I don’t feel compelled to write something unless I intend to direct it myself. Writing, for me, isn’t where I feel most in my element. I’m much more drawn to the process of directing, even if I still occasionally suffer from impostor syndrome, which I have now concluded many artists do, no matter how seasoned.
What excites me most is taking a story from the page and breathing life into it on screen. That transition, from script to set and eventually to the final cut, is where my passion lies. I find that when I’m both writer and director, it allows for a singular, cohesive vision from beginning to end. And because I only write stories that I feel deeply connected to, there’s already an emotional and creative investment in the work.
For me, the most powerful films are often those made by filmmakers who are intimately connected to the material. Being both the writer and director enables that connection to flow through every stage of the process, from the first word on the page to the final frame on screen.
What are your thoughts on the growing number of women entering the industry in the region, and what would you say to them?
It goes without saying that I’m very pleased to see a growing number of women entering the industry, whether in the Arab world or in the UK, where I’m more rooted, or anywhere else for that matter. It’s especially heartening in the context of such a male-dominated field.
To the women coming into the industry, I would simply say: keep going. We have a unique lens and are more than capable. I encourage women to pursue every corner of the field, whether as directors, writers, producers, executive producers, as DoPs or leading other key departments. We belong in all of it and have much to offer.
Is there anything you would still like to do?
There’s still so much I’d like to do. I often catch myself daydreaming, quietly calculating how many years lie ahead (since I started quite late), and how many of the stories I carry within me I can realistically bring to life. Every time I feel momentum building around one project, another idea calls to me. I’m constantly jotting things down in notepads or on my phone, ideas, fragments, glimpses of future films.
Of course, I know I won’t be able to make them all. So, I try to focus on the stories that resonate most deeply, the ones that feel urgent and meaningful, and that also make sense strategically in terms of scope and possibility. I aim to stay true to my creativity while choosing projects that stretch me, that broaden my horizons, and that still speak to the issues and themes I care most about.
At the end of the day, the work has to come from the heart. There can be nothing contrived, it has to be honest, necessary, and creatively fulfilling.
Credits:
Founder/Editor in Chief: Lara Mansour
Fashion Director : Lindsay Judge
Styling Assistant: Lea Naoufal
Photography: Ziga Mihelcic
Hair and makeup: Lina Dahlbek
Location: Four Seasons Hotel Dubai
