british authority

An uprising typically has a long parentage and, if effective enough, can leave behind many like-minded descendants. Such is the bracing air that Palestinian filmmaker Annemarie Jacir breathes into her historical drama “Palestine ’36” as she dramatizes the 1936-1939 Arab Revolt against occupying Britain’s increasingly punitive, underhanded rule, offering up a multifaceted rebellion tale with plenty of contemporary resonance.

That being said, Jacir’s fourth feature — packed as it is with storylines — could stand a bit more context and fewer of the expositional traps that big-cast sagas easily fall into. But the key element that grounds Jacir’s version of an old-fashioned epic (and helps it withstand its faults) is that we’re seeing a place rarely depicted with such sweep, detail and scope outside of biblical epics. It’s as if a long-disused history book’s pages have finally been opened, dust giving way to color and purpose.

Some of that breadth is seen at the beginning in some astonishing newsreel footage from the era, which segues into Jacir’s establishing story threads. We meet village-born Yusuf (newcomer Karim Daoud Anaya), an ambitious young man who moves restlessly between bustling Jerusalem, where he works for a wealthy, British-friendly Palestinian businessman (Dhafer L’Abidine) and his journalist wife (Yasmine Al Massri), and his rural home where villagers are routinely targeted by British authorities. If it isn’t vicious Capt. Wingate (Robert Aramayo) violently rooting out rebels and putting locals in pens, it’s outwardly friendly officials like the secretary who oversees new policies kinder to the increasing numbers of Jewish settlers than to those who have been farming the hills for ages.

The split widens when a labor strike becomes an armed revolt, with Jacir gamely tracking the hardening or shifting loyalties of both her peasant and well-to-do characters. The British, represented at the top by the casually imperious High Commissioner Wauchope (a perfectly cast Jeremy Irons), are decidedly the villains here as a colonial force quick to brutalize Palestinians for speaking up for themselves. Still, by forgoing any Jewish characters when there was already a burgeoning transplanted minority — all we see is a kibbutz being erected in the far distance — seems like too careful an avoidance of contextual reality.

As “Palestine ’36” eventually sacrifices focus on the many characters it has, one wishes Jacir had had the luxury of a classic epic’s standard third hour to build that complexity into a vivid resistance narrative. Wanting more from this material, though, feels better than not getting the opportunity to see it at all. As overdue tales of history go, “Palestine ‘36” (currently one of the last films with access to its real-world locations) is certainly more of a blunt instrument than a novelistic endeavor. But its broad strokes and rooted passions easily earn their place, and deserve to inspire more such stories.