Between Picasso's 'Guernica' and the Gaza Massacres.. A Reading of the Series 'Sahab Al-Ard'

Pablo Picasso's 'Guernica' remains the most prominent witness to art's ability to immortalize victims and confront killers, as it documented the Nazi massacre in Spain in 1937. Today, this artistic icon is revisited in the context of the ongoing Israeli aggression on the Gaza Strip, highlighting the intricate relationship between reality and drama and how art can protect memory from annihilation.

In Ramadan 2026, the series 'Sahab Al-Ard' (Owners of the Land) by director Peter Mimi stands out as the first Arab drama to directly address the recent massacres in the Gaza Strip. Despite the concerns surrounding its production due to time constraints, the work boldly emulated Palestinian reality with striking artistic flair, attempting to break the media blockade imposed on the Palestinian narrative.

The announcement of the series raised many questions about how to approach a current event whose chapters have not yet concluded, especially with Israeli restrictions preventing production teams from entering the Strip. The creators relied on building massive sets that mimic the destroyed neighborhoods of Gaza, focusing on human details that transcend direct political slogans.

Writer Ammar Sabry is responsible for the script and screenplay, having previously participated in writing workshops for successful works, and now presents his first major experience in 'Sahab Al-Ard'. It appears that the work relied on research teams and fact-checking to ensure a realistic portrayal that reflects the complex social and political map of the Gaza Strip under bombardment.

The name of director Peter Mimi raises questions about the political employment of the work, given the association of his previous works with official Egyptian orientations. However, critics believe that the series reflects a shift in Egyptian dramatic discourse towards the Palestinian cause, especially in light of the rejection of Israeli displacement plans aimed at liquidating the issue.

Viewers compare 'Sahab Al-Ard' with the series 'Haret Al-Yahud' (The Jewish Quarter) which aired years ago, showing the difference in the centrality of the Palestinian character. While the Palestinian in previous works was a secondary or 'ghostly' character, in this work, they occupy the heart of the event, expressing their existential struggle to remain on their land threatened with annihilation.

Dr. Salma, an Egyptian doctor played by actress Menna Shalaby, plays a pivotal role in the work through her travel with medical convoys to northern Gaza. Through her eyes, the viewer witnesses the scale of the daily humanitarian catastrophe, where her personal tragedy of losing her son merges with the tragedies of injured children in Gazan hospitals.

Actor Iyad Nassar delivers an exceptional performance as 'Nasser', a character who lives a torn struggle between the desire to protect his family by leaving and his deep-rooted belonging to the land. This conflict reflects the Palestinian existential dilemma that began decades ago, where mere survival becomes a form of resistance and heroism.

The series successfully captured the Gazan dialect accurately and managed to build balanced dramatic arcs that give the characters deep human motivations for integrating into a dangerous environment. The dialogue between the characters shows a deep understanding of major Palestinian concerns, far from the naive stereotyping that prevailed in some previous Arab works.

Prominent Palestinian actors, including Kamel El Basha and Adam Bakri, participate in the series, adding a touch of realism and credibility to the performances. These participations contribute to strengthening the Palestinian narrative within the work and connecting the Palestinian diaspora with the interior through a dramatic platform that reaches millions of Arab viewers.

The first episodes of the series emphasize the role of Egyptian authorities in providing humanitarian and medical aid, which some see as part of directed political messages. Nevertheless, the dramatic treatment maintains high creative standards, making the work an important artistic document that chronicles a pivotal stage in the history of the Arab-Israeli conflict.

The construction of sets mimicking the rubble and destruction in Gaza was not merely a visual backdrop, but an integral part of the dramatic structure that places the viewer at the heart of the suffering. Peter Mimi managed to utilize this environment to create a state of continuous tension experienced by Gazans under the weight of Israeli planes and artillery.

The series faces the challenge of balancing the artistic and the political, as it seeks to avoid crude 'sloganeering' in favor of individual stories and human destinies. By focusing on the lives of a segment representing Gazan society, the work succeeds in transforming the cold numbers of victims into vibrant stories full of life and emotions.

In conclusion, 'Sahab Al-Ard' represents an important step in contemporary Arab drama, as it dares to approach a bleeding wound that has not yet healed. Whether opinions agree or disagree on its political objectives, it remains a serious artistic attempt to immortalize the steadfastness of the 'Owners of the Land' in the face of the war machine, just as Picasso did in 'Guernica'.

'No, you did.' Picasso's response to a Nazi officer who asked him about the Guernica painting, which is embodied today in a drama documenting the annihilation of Gaza.