Since 2012, more than 100 children have been conceived using the smuggled-out sperm of incarcerated Palestinians — or so it is claimed by the end titles of Mohamed Diab’s “Amira.”…
.” But here, this phenomenon, the mechanics of which make for a genuinely riveting first act, is somehow judged not dramatically fertile enough to carry an entire film. Instead, Diab’s increasingly tin-eared, hysterical story, co-written with his siblings Khaled and Sherin Diab, devolves into a socio-politically dubious and narratively nonsensical muddle, which may actually be a disguised blessing.
Aspiring photographer Amira is officially registered as the child of Nawar’s brother. But though she has only ever met him during closely monitored prison visits, she is fiercely attached to Nawar and outspokenly loyal to the cause of Palestinian independence, to which she ardently believes her father is a martyr. By contrast, she has a strange, strained disdain for her beautiful, saintly mother.
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