The Unseen Gaza: Why Switzerland’s Oscar Submission Matters More Than You Think
When I first heard that Switzerland had selected Who Is Still Alive as its entry for the Best International Feature at the Oscars, my initial reaction was curiosity. Why Switzerland? Why this film? And why now? As I delved deeper, it became clear that this isn’t just another documentary about the Gaza War—it’s a profound statement about humanity, resilience, and the power of storytelling.
A Film That Defies Expectations
What makes Who Is Still Alive particularly fascinating is its approach to storytelling. Director Nicolas Wadimoff doesn’t rely on the typical visuals of war-torn Gaza we’re accustomed to seeing in the news. Instead, he uses a chalk map and the voices of nine Palestinian refugees to paint a picture of life before and after the conflict. This minimalist yet powerful technique forces viewers to engage with the story on a deeper level. It’s not about shock value; it’s about connection.
Personally, I think this is where the film’s brilliance lies. By stripping away the usual imagery, Wadimoff challenges us to listen—really listen—to the stories of those who survived. It’s a reminder that behind every statistic, every headline, there are real people with real lives. What many people don’t realize is that this kind of storytelling can humanize a conflict in ways that traditional documentaries often fail to do.
Switzerland’s Bold Choice
Switzerland’s decision to submit this film is both surprising and deeply symbolic. On the surface, it might seem odd for a country with no direct connection to the Gaza conflict to champion such a story. But if you take a step back and think about it, Switzerland has long positioned itself as a nation of neutrality, dialogue, and humanitarianism. By selecting Who Is Still Alive, the country is making a statement about its values—and about the role of art in amplifying marginalized voices.
In my opinion, this choice is a bold one. It’s not just about winning an Oscar; it’s about using the global stage to highlight a story that deserves to be heard. What this really suggests is that Switzerland sees itself as a platform for stories that might otherwise go untold. It’s a move that raises a deeper question: What responsibility do neutral nations have in global conflicts?
The Power of Resilience and Hope
One thing that immediately stands out in the film is the resilience of its protagonists. These are people who have faced unimaginable horrors yet still find ways to hope, create, and survive. The fact that they were filmed in South Africa—one of the few countries that allows visa-free entry for Palestinians from Gaza—adds another layer to their story. It’s a stark reminder of the global implications of displacement and the barriers faced by refugees.
From my perspective, this resilience is the heart of the film. It’s easy to focus on the tragedy of war, but Who Is Still Alive shifts the narrative to one of survival and humanity. What makes this particularly fascinating is how the film manages to be both deeply personal and universally relatable. It’s not just about Gaza; it’s about the human capacity to endure and rebuild.
A Broader Trend in Global Cinema
This film is part of a larger trend in international cinema—one that prioritizes stories from marginalized communities and challenges traditional narratives. Wadimoff’s previous works, Still Alive in Gaza and The Apollo of Gaza, show his long-standing commitment to Palestinian stories. But what’s striking here is the global collaboration behind the film, with production companies from Switzerland, France, Palestine, Jordan, the UK, and more.
This raises a deeper question: Are we seeing a shift in how global audiences engage with conflict-driven narratives? Personally, I think we are. Films like The Voice of Hind Rajab, which was Oscar-nominated last year, and now Who Is Still Alive, suggest that audiences are hungry for stories that go beyond the headlines. They want to understand the human experience behind the conflict.
What This Means for the Oscars—and Beyond
The Oscars have always been a platform for political and social statements, but Who Is Still Alive feels particularly timely. With the 99th Academy Awards set for March 2027, the film enters a global conversation about displacement, war, and resilience. But what makes this submission stand out is its ability to transcend its subject matter. It’s not just a film about Gaza; it’s a film about what it means to be human.
In my opinion, this is the kind of storytelling that the Oscars should celebrate. It’s not just about technical brilliance or star power; it’s about the impact a film can have on its audience. If Who Is Still Alive wins, it won’t just be a victory for Switzerland or Wadimoff—it will be a victory for every voice that has been silenced by conflict.
Final Thoughts
As I reflect on Who Is Still Alive, I’m struck by its ability to challenge, inspire, and provoke. It’s a film that forces us to confront uncomfortable truths while reminding us of our shared humanity. Switzerland’s decision to submit this film is more than just a nomination—it’s a statement about the kind of world we want to live in.
What this really suggests is that art, at its best, can be a force for change. It can give voice to the voiceless, challenge our assumptions, and connect us across borders. And in a world that often feels divided, that’s a message worth amplifying.
