In the 16-mm film “Morgenkreis | Morning Circle” (2025), Palestinian artist Basma al-Sharif, based in Berlin, captures a poignant scene outside a daycare center. A young boy clings to his father while a caregiver attempts to distract him, a moment that resonates with anyone familiar with the fear of separation. This seemingly mundane instance is laden with political undertones, reflecting the historical role of kindergartens in shaping societal norms and citizens within the framework of European liberalism.
Al-Sharif, whose work often explores themes of diaspora and identity, draws parallels between a child’s separation from a parent and the broader experience of exile from one’s homeland. Her film critiques the ideological underpinnings of institutions like kindergartens, which serve as microcosms of the political narratives that seek to assimilate the ‘other.’ The film’s narrative reveals the hidden violence in these structures, mirroring the forced estrangement experienced by refugees and colonized peoples.
In late 2025, al-Sharif was invited to present her work at Kunstakademie Düsseldorf, but controversy ensued over her social media posts discussing historical injustices and resistance symbols. The backlash, led by a pro-Israel advocacy group within Germany’s Christian Democratic Party, called for the cancellation of her screening. Despite the pressure, the academy’s director, Donatella Fioretti, stood firm, allowing the event to proceed with limited attendance due to safety concerns.
Al-Sharif’s film, set in a somber Berlin, contrasts with Wim Wenders’s 1987 film Wings of Desire, which romanticized the city. While Wenders depicted Berlin through grand, historical vistas, al-Sharif’s lens focuses on the restrictive, controlled environments that reflect the experiences of marginalized communities. Her portrayal of Berlin highlights the city’s evolution, emphasizing its occupation by corporate interests and the exclusionary practices faced by immigrants.
The film concludes with a powerful scene of children revolting against the monotony of the kindergarten routine, symbolizing a break from imposed structures. This act of rebellion is juxtaposed with imagery of Gazans returning home after a failed ceasefire, underscored by Maurice Louca’s haunting soundtrack. Al-Sharif’s work invites viewers to engage with the Palestinian struggle through an emotional, rather than purely intellectual, lens, connecting personal experiences with broader socio-political issues.
