35 Hours in Israel

Short Documentary

In 35 Hours in Israel, MSM documented an unforgettable journey of four friends as they traveled across the globe in search of a rare Banksy artwork. Filmed on location in Israel in 2008, this short documentary captures more than the pursuit of art; it explores the complexities of the Israeli-Palestinian conflict and the nuances of human connection within the region. Banksy’s unique exhibition on the West Bank barrier serves as both a provocative statement and an emotional backdrop for the friends’ journey, shaping the powerful narrative that emerged.

A 35-Hour Journey of Art, Self-Discovery, and Cultural Reflection

In 35 Hours in Israel, M. Samuels Media documented an unforgettable journey of four friends as they traveled across the globe in search of a rare Banksy artwork. Filmed on location in Israel in 2008, this short documentary captures more than the pursuit of art; it explores the complexities of the Israeli-Palestinian conflict and the nuances of human connection within the region. Banksy’s unique exhibition on the West Bank barrier serves as both a provocative statement and an emotional backdrop for the friends’ journey, shaping the powerful narrative that emerged.

Bringing the Story to Life: Direction, Cinematography, and Editing

Our team took a hands-on approach in producing and directing this global shoot, navigating diverse and challenging locations to authentically capture the atmosphere of Israel. Through intentional cinematography, we emphasized contrasts—ancient landscapes against modern conflict, and art against concrete barriers. Our editing focused on pacing that mirrors the intensity of a tight schedule, drawing viewers into the whirlwind experience of covering so much ground in so little time. Each frame was crafted to convey both the urgency of the friends’ mission and the lasting impressions made by the people they encountered.

Cultural Exploration Through Motion Graphics

To enrich the storytelling, we used motion graphics to provide context around Banksy’s “Santa’s Ghetto” exhibition and the charged symbolism of his West Bank installations. These graphics layered information on the historical and social context behind the art, allowing viewers a deeper understanding of the issues at hand. From depicting the controversial security barrier to highlighting key symbols in Banksy’s work, our motion graphics served as an educational lens for audiences, offering insight into the powerful messages Banksy intended to convey.

An Unfiltered Glimpse into Human Resilience and Hope

35 Hours in Israel goes beyond a search for art, evolving into a film about the human experience in a place defined by cultural and political division. Through interviews, candid moments, and the simple interactions shared with locals, the film reflects the resilience and hope found amidst tension. In capturing this journey, we offered audiences a personal connection to a region often only seen in headlines, illustrating how art and friendship can bring new perspectives to even the most complex of landscapes.

Project Highlights

Street Art / Gallery →
Global Location →
Israel / Palestine Conflict →

About Banky’s Ghetto

British graffiti artist Banksy has launched an art exhibition in Bethlehem that he hopes will focus attention on the poverty of the West Bank and draw tourists to the traditional birthplace of Christianity.

As part of the project, Banksy has adorned the controversial security barrier around the West Bank town with spray paint and plaster works of art in a comment on the Israel-Palestinian conflict. Israel says the purpose of the barrier is to prevent terrorist attacks being launched from the West Bank. Palestinian leaders however say the barrier amounts to an illegitimate land grab by Israelis, setting unilateral borders for an eventual Palestinian state.

The new exhibition, called “Santa’s Ghetto Bethlehem 2007,” is a collaboration by artists who say they are trying to revitalize tourism to Bethlehem and “offer the ink-stained hand of friendship to ordinary people in an extraordinary situation.” Banksy’s sketches on the security barrier flow towards Manger Square, across from the Church of the Nativity, where Christians believe Jesus was born. His images include a dove wearing a bullet-proof vest, a young girl in a frilly pink dress frisking a soldier and a donkey being checked for its identity papers.

According to the Web site for Santa’s Ghetto, Banksy thought he was making an ironic commentary with the donkey picture, but locals told him the animals are frequently asked for ID papers. Santa’s Ghetto typically operates during the month of December out of a small store on Oxford Street in London, where underground artists showcase their work. Banksy, who started the initiative six years ago, says: “I felt the spirit of Christmas was being lost. It was becoming increasingly uncommercialized and more and more to do with religion, so we decided to open our own shop and sell pointless stuff you didn’t need.”

His exhibition in Bethlehem is rife with the same satirical sentiments. Beyond the barrier graffiti, the work of Santa’s Ghetto’s diverse artists spread across three floors of a building in Manger Square. Inside, examples include a painting by Palestinian artist Suleiman Mansour in which a man carries the city of Jerusalem on his back, and London artist Peter Kennard’s montage of dollar bills printed on pages from the Jerusalem Post. Proceeds from Santa’s Ghetto sales go to charity.