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Hyperallergic’s “Between Worlds” is a first-person essay by editor-in-chief Hakim Bishara, not a report announcing a new film or event. Bishara describes attending a New York Film Festival screening of an Edward Said documentary and connects his emotional response to reflections on grief, his son, Jerusalem and New York.
Hyperallergic editor-in-chief Hakim Bishara has written a personal essay about attending a New York Film Festival screening of the Edward Said documentary Between Worlds, describing how the film brought him to tears and stirred thoughts about grief, parenthood and place. The piece is a first-person reflection, not a review that lays out the documentary’s contents or a report on a new release.
Bishara’s essay follows a series of brief scenes from daily life. On a drive to take his son, René, to kindergarten, the child asks, “What’s the point of all this?” Bishara connects the question to a conversation the previous day about death and his difficulty explaining the absence of his father, René’s grandfather. These moments establish the personal concerns that accompany him to the screening.
The essay then moves among encounters in Brooklyn and New York. Bishara recalls eating fortune cookies at an event at the International Studio & Curatorial Program in Brooklyn, sheltering from rain in Bushwick and noticing people and images along his route. On the subway, he sees a T-shirt spelling “coexistence” with religious symbols. Later, outside a Hermès store, he says images of Jerusalem, Haifa and Nazareth come to mind alongside New York and his son’s face.
Bishara writes that he cried throughout the screening. The source identifies the film as a documentary about Edward Said, the Palestinian-American literary scholar and critic, but does not give its director, production details, release plans or a synopsis. The essay’s focus is the writer’s response and the associations he draws between family, loss and places that shape his sense of home.
A Screening Seen Through Family and Place
The essay offers a personal account of how a film screening can become entangled with concerns beyond the screen. Bishara places the experience beside his son’s question about life’s purpose and his own unfinished effort to discuss death with a young child. That connection gives the piece its central tension: a routine morning and an evening at a festival screening are presented as parts of the same emotional life.
Its references to Jerusalem, Haifa and Nazareth also place geography and memory within that private reflection. Bishara does not present those thoughts as a full account of the film’s argument or as a substitute for reporting on the locations themselves. Rather, he records what the screening brought to his mind. For readers, the distinction matters: the piece documents one viewer’s response, while leaving the documentary’s broader case unassessed.
The article appears within a Hyperallergic newsletter that also lists other arts coverage and opportunities. Its presence there places the essay among the publication’s cultural journalism, but the supplied material does not report a broader institutional announcement connected to the film. The confirmed development is the publication of Bishara’s personal essay.
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The Essay’s New York Journey
The source presents the essay as a sequence rather than a conventional event report. It begins with Bishara’s early-morning routine and his son’s question, then moves through an event at the International Studio & Curatorial Program, a rainy stop in Bushwick and the trip to the New York Film Festival. The film screening is the point around which those ordinary observations gather.
Other moments widen the essay’s associations without becoming the main subject. Bishara mentions news that the Milwaukee Art Museum returned two jars to descendants of Dave the Potter, a Black American artist who was enslaved for much of his life in the 19th century. He also notes conversations and images encountered in the city. These details show what he was thinking about in the days surrounding the screening; the source does not claim they are part of the documentary.
The supplied text gives no date for the essay or screening. It also does not specify which New York Film Festival edition was involved. The newsletter excerpt contains other headlines, including museum labor news and art-world announcements, but those are separate items and do not establish a further development about Between Worlds.
““What’s the point of all this?””
— René, Bishara’s son, as quoted in the essay
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Film Details the Essay Leaves Open
The supplied article does not identify the documentary’s director, length, production history, screening date or distribution plans. It also does not summarize the film’s structure or argument, so Bishara’s account cannot establish what the documentary says beyond its connection to Edward Said.
The piece gives no publication date, and the newsletter excerpt does not clarify which year’s New York Film Festival screening it describes. It is also unclear whether the essay was written in response to a particular festival premiere or simply to a screening Bishara attended. No additional statement from the festival, filmmakers or Said’s estate is included in the source material.
Bishara’s emotional response and the associations he describes are his own account. The essay does not claim that all viewers will react similarly, nor does it present his reflections as a formal assessment of the documentary’s reception.
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No Follow-Up Is Specified
The source provides no announced next screening, release date, distribution plan or follow-up coverage for Between Worlds. Readers seeking practical information about seeing the film would need a separate listing from the New York Film Festival or the documentary’s distributor; neither is included in the supplied material.
For now, the documented development is the essay’s publication in Hyperallergic. Any further information about the film’s availability, credits or festival run remains outside the source provided.
emotionally impactful documentaries
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Key Questions
What is Between Worlds in this article?
It is identified as an Edward Said documentary screened at the New York Film Festival. The source does not provide a synopsis or production credits.
Who wrote the essay?
Hakim Bishara, Hyperallergic’s editor-in-chief, wrote the first-person reflection about the screening and the thoughts it prompted.
What does Bishara say the film brought up for him?
He describes crying during the screening and connects his response to grief, his son René and places including Jerusalem, Haifa and Nazareth.
When was the screening, and can readers watch the film?
The supplied source does not give a screening date, release date or distribution information. It is not clear from the article whether the documentary is currently available to watch.
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