Soft Power and the Oscars: No Other Land and the Politics of Recognition

Olivia Suthers | Middle East Fellow

Image sourced from Hammam Fuad via Unsplash.

The Oscars are not merely a showcase of A-list glitz and glamour. For Australian policymakers, this year’s historic win for No Other Land signals a shift in international recognition of Palestinian and Israeli narratives. However, the significance of this moment was underscored by the recent Israeli detention of Palestinian co-director Hamdan Ballal – a stark reminder of its real-world stakes.

The documentary, which captures the destruction and displacement of Palestinian communities in the West Bank, marks a significant moment in cinematic history. Directed by Basel Adra and Hamdan Ballal alongside Israeli co-directors Yuval Abraham and Rachel Szor, its Oscar win is the first for a film directed by a Palestinian filmmaker. This international recognition reflects a broader trend of international media shaping public discourse on the Middle East.

Ballal’s arrest on 24 March serves as an illustration of the injustices No Other Land seeks to expose, raising questions about the limits of cultural diplomacy when met with state suppression. If the international acclaim for No Other Land is to have a meaningful impact, global leaders, including Australian policymakers, must recognise these developments not just as moments of cultural significance but as calls to action.

The Oscars as a Middle Eastern Soft Power Tool

Soft power tools, including international film award institutions like the Oscars, are spaces within which influence can be exercised to shape international discourse. Although they had little diplomatic impact, several internationally recognised Middle Eastern films have influenced discussions on the Israeli-Palestinian conflict by offering critical perspectives on security policies and grassroots resistance. No Other Land (2024) emerges amid heightened regional tensions, making its recognition even more politically charged.

In neighbouring Arab countries, the film's success has reinforced solidarity with the Palestinian cause. The documentary's acclaim may strengthen cultural ties and shared identity among Arab states, and strengthen their diplomatic stances and efforts. However, Ballal’s detention exposes an effort to suppress Palestinian narratives even as they gain international visibility. This crackdown mobilises support for Palestinian advocacy while intensifying global scrutiny of Israel’s treatment of dissenters. The backlash could fuel ongoing calls to boycott Israeli cultural productions, challenging Israel’s use of cinema as a soft power tool.

Although No Other Land was co-directed by both Palestinian and Israeli filmmakers, its success and aftershocks expose deep fractures in how Israel’s policies are perceived. Australian policymakers should recognise the cultural and political weight of these developments and allow them to inform a reconsideration of Australia’s stance on the Israeli-Palestinian conflict.

The Risk of Narrative Control: Depoliticisation or Amplification?

The global recognition of No Other Land has ignited debate over whether it genuinely amplifies Palestinian voices or repackages the conflict to fit Western diplomatic narratives. While its acclaim underscores the power of cultural diplomacy, its potential to drive tangible diplomatic shifts remains to be seen. Some argue that framing the film within the Western awards circuit risks depoliticising its message, diluting its urgency in favour of broad international palatability. Conversely, others see its success as a crucial moment to renew global engagement with Palestine.

For nations like Jordan, Egypt, and the Gulf states, the film’s reception presents an opportunity to translate cultural recognition into diplomatic action. This could mean leveraging its momentum to push for renewed peace talks, strengthen cultural collaborations, or take an assertive stance on Palestinian advocacy in international forums. Rather than allowing No Other Land to remain a symbolic victory, states and policymakers worldwide must seize this moment to ensure its impact extends beyond cultural discourse to advanced global engagement with Palestine’s cause.

Australia’s Role: Moving Beyond Symbolic Engagement

Australia’s Middle East policy is shaped by its strategic alliances, particularly with the United States (US), and its historical support for a two-state solution. Yet cultural diplomacy remains an underutilised tool in its regional engagement strategy. This critical gap can and should be addressed by implementing the following initiatives.

Educational Partnerships

DFAT’s New Colombo Plan has played a crucial role in Australia’s engagement with Asia and the Pacific. To recognise the Middle East’s rising importance within the world’s global order, Australia should implement similar initiatives. Forging Australian-Middle Eastern educational partnerships would allow Australia to wisely invest in cultural diplomacy and nurture people-to-people connections.

Cultural Exchange

Cultural diplomacy plays a vital role in shaping national identity, promoting values, and advancing strategic foreign policy objectives. To strengthen Australia’s engagement with the Middle East, cultural diplomacy should be formally integrated into its foreign policy framework, through greater investment in cultural exchange programs, collaboration with regional arts and media sectors, and dedicated initiatives that leverage Australia’s creative industries to build diplomatic goodwill.

Academic analysis

The Australian Government should nurture the role of media and soft power in shaping international relations. Middle East studies programs should discuss cultural narratives, independent media, and civil society in unpacking the region’s political and social dynamics. By incorporating media literacy and soft power analysis into academia, Australia can cultivate a more informed and strategic approach to its Middle Eastern engagement.

No Other Land’s Oscar win is more than a cinematic achievement; it highlights the potential power of cultural narratives in diplomacy. However, Hamdan Ballal’s detention serves as a sobering reminder that recognition alone does not guarantee change. If this moment is to have real diplomatic significance, it must be met with action. Ultimately, Australia must move beyond its passive media consumption and actively engage with Middle Eastern cultural diplomacy to ensure its foreign policy aligns with nuanced, regionally informed perspectives.

Olivia Suthers is the Middle East Fellow for Young Australians in International Affairs. Olivia is a recent graduate from the University of Western Australia, holding a Bachelor of Arts with a major in Asian Studies.  Growing up, Olivia lived in Brunei and Qatar. This early experience sparked what would become a major passion for fostering cross cultural understanding, specifically regarding the frequently misunderstood region of the Middle East.