Susan Sontag¹s third directorial effort and her only documentary, Promised Lands scrutinizes the ongoing Arab-Israeli conflict and the growing divisions within Jewish thought over the question of Palestinian sovereignty. Shot in Israel during the final days and immediate aftermath of the 1973 Yom Kippur War, Promised Lands is undoubtedly one of Sontag¹s most incisive examinations of contemporary Jewish consciousness, and she considered it her most personal film.
Sontag structures the film as an antiphony between two sets of images. The first consists of observational sequences detailing moments from modern Israel: desert landscapes, patrols of roadside soldiers, old men and women at the Wailing Wall, Israeli grocery stores and movie theaters, the Jerusalem War Cemetery, a military psychiatric ward, and a wax museum depicting the official history of the state. Intercut throughout are conversations with two intellectuals: writer Yoram Kaniuk, a supporter of Palestinian rights who sees Israel shifting from its socialist roots to an American-style commercial culture, and physicist Yuval Ne¹eman, who argues for the endemic nature of Arab anti-Semitism. Though the film grants no direct access to Arab or Palestinian voices, its clear elaboration of the debate prompted Israeli censors to ban its initial release, claiming it would be "damaging to the country's morale." Stateside, Stanley Kaufman praised the film¹s Hegelian quality, writing that it presents ³not a struggle between truth and falsehood but between two opposing, partial truths.²