Film Special: In Between

We will be screening Bar Bahar also known as In Between.
The film depicts three young arab women living in liberal Tel Aviv, their struggles with the rule-bound Arab world and the inequality of Israeli society and their desire to free themselves

More info:
It’s the story of three Palestinian women living together in a shared apartment in the Yemenite section of Tel Aviv (in addition to those who live in Gaza and the West Bank, Palestinians make up 20 percent of the Israeli citizenry). On the surface they have little in common. 
Laila (Mouna Hawa), from the city of Haifa, is a saucy, chain-smoking lawyer, a big-haired, leather-jacketed femme fatale—she’s got the face of Madame X and the panache of end-of-Grease Olivia Newton-John—with a principled disregard for convention. 
Salma (Sana Jammelieh) is a DJ, a surly rebel who quits her kitchen day job when her boss chastises her for speaking Arabic, but who can’t summon the same gumption when it comes to telling her Christian family back home in Nazareth that she’s gay. 
And newest to the apartment is Nur (Shaden Kanboura), a computer science student from the conservative Muslim town of Umm al-Fahm, soft-spoken and pious, a bookish hijabi, who is at first shocked and appalled by her boozing, drug-using, carousing, sexually liberated new flatmates.

Soon enough the women discover that what divides them—sexual orientation, religion, religiosity—is less significant than what unites them: Each in her own way is struggling against a man who would like to stifle her voice. Laila’s new paramour, the dashing, bohemian Ziad (Mahmoud Shalaby), is happy to have a girlfriend who will do drugs and have sex with him, but he won’t commit unless she cleans up her act. (“What else?” she erupts when he looks askance at her cigarette. “Should I stop getting high? Or dressing like this? What exactly is on the list?”) 
Salma’s father is proud to have a daughter who is picky when it comes to choosing a husband (her parents are hard at work attempting to arrange a marriage), but goes ballistic when he learns it’s because she prefers women. 
And most insidious, Nur’s husband-to-be, the hypocritical Wissam (Henry Andrawes), projects his own licentious yearnings onto his fiancée and couches his desire to control her—he disapproves of her living arrangements, of the behavior of her roommates, and of her quest for higher education—in religious moralism.