Between Worlds

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Hyperallergic editor-in-chief Hakim Bishara’s essay “Between Worlds” recounts seeing a documentary about Edward Said at the New York Film Festival and reflects on grief, family and place. The supplied material does not give the film’s director, release details or screening date, so the essay—not a new film announcement—is the confirmed development.

Hyperallergic editor-in-chief Hakim Bishara recounts watching the Edward Said documentary Between Worlds at the New York Film Festival in a personal essay that links the screening to his conversations with his young son about death and to memories of Jerusalem, Haifa and Nazareth. The source presents the piece as a first-person reflection, not an announcement about the film or a review of its production.

Bishara describes a morning routine driving his son, René, to kindergarten. The child asks, “What’s the point of all this?” after the pair had discussed death the previous day. Bishara writes that he had struggled to explain why his father—René’s grandfather—is gone and where he might be. Those questions about loss frame the essay’s later account of the film screening.

The essay moves through brief scenes in New York: an event at the International Studio & Curatorial Program in Brooklyn, a rainy stop in Bushwick and a subway ride toward the festival screening. Bishara recalls hearing a man explain a claim about Islam and slavery, and later notes that the Milwaukee Art Museum returned two jars to descendants of Dave the Potter, a Black artist who was enslaved for much of his life in the 19th century. These are details in the essay’s sequence, not reporting presented with additional documentation in the supplied material.

At the screening, Bishara says he cried repeatedly. He later describes seeing his reflection in a shop window and imagining Jerusalem, Haifa and Nazareth alongside New York and his son’s face. The text is signed by Bishara and appears alongside a Hyperallergic newsletter that also includes arts coverage, listings and other editorial material.

A Film Screening Meets Family Grief

The essay’s significance lies in how it presents an art-film screening through the editor’s personal experience rather than through a conventional account of the documentary’s argument or filmmaking. Bishara connects the film to a child’s questions about death and to his own sense of belonging across places, ending on a movement between New York and the Middle East and between public history and family life.

For readers, the distinction matters: the available text confirms that Bishara attended a screening and describes his emotional response, but it does not establish what the documentary says about Said or how the film has been received more broadly. The article is best understood as a personal reflection that uses the screening as one point in a wider meditation on memory, grief and identity.

The Essay’s New York Route

Bishara structures the piece as a series of encounters across an ordinary stretch of time. It begins with the school run and his son’s question, then shifts to an arts gathering in Brooklyn, a stop in Bushwick and travel by subway to the New York Film Festival. Everyday details—fortune cookies, rain, music and people encountered in the city—sit beside references to death, enslavement and religious coexistence.

The source identifies the work only as a documentary about Edward Said titled Between Worlds. It does not supply a director, production company, synopsis, festival program details or dates. Those omissions limit what can be reported about the film itself; the available account is centered on Bishara’s response rather than on production or distribution news.

“What’s the point of all this?”

— René, as quoted by Hakim Bishara

Film Details Not Supplied

The source does not identify the documentary’s director, release year, length, subject matter beyond its focus on Edward Said, or screening date. It also does not say whether the festival screening was a premiere, whether further screenings are scheduled or where the film can be watched. Bishara’s description of crying is a personal account; the text provides no wider audience response or critical assessment.

The essay includes other observations and references, but the supplied material does not independently verify them or provide fuller sourcing. They should be treated as details Bishara recounts in a personal piece, rather than as separately documented developments in this article.

No Further Screenings Listed

The supplied newsletter excerpt gives no announced next screening, release plan or follow-up from the festival or filmmakers. It does not describe a forthcoming decision or event tied to Between Worlds. Readers seeking viewing information or further film details would need a festival listing or a statement from the documentary’s makers; neither is included in the source.

For now, the confirmed development is the publication of Bishara’s reflection on the screening. Any additional information about the film’s distribution, production or future exhibition remains unreported in the material provided.

Key Questions

What is Between Worlds?

The source refers to Between Worlds as a documentary about Edward Said. It gives no further film details, such as its director or release date.

What is the news development?

Hyperallergic editor-in-chief Hakim Bishara published a personal essay recounting his experience at a New York Film Festival screening of the documentary.

What does Bishara say the screening brought up for him?

He connects the experience to grief and his son’s questions about death, then recalls imagining Jerusalem, Haifa and Nazareth alongside New York and his son.

When can viewers watch the documentary?

The supplied source does not list a release date, streaming option or future screening. Viewing information is not confirmed in the material provided.

Source: rss