Still: House of Hope - Marjolein Busstra

Source: Business Doc Europe

“We began this film way before the most recent escalations,” Dutch producer Ruby Deelen (100%) tells BDE. “At that time, the feedback from the industry (broadcasters and others) was that there was little appetite for stories from this region. That perception has changed dramatically since.”

Filmed over three years, the story begins prior to October 7, 2023, and unfolds against the growing tension and heartbreak of the ongoing surge in violence.

“The film offers a vital and rare perspective: a deeply human story beyond the headlines and politics,” producer Deelen continues.

“At its core, the film follows Manar and Milad, two parents who fight to protect both their own children and their students, nurturing hope under impossible circumstances. We hope that this intimate, observational lens makes the film resonate with Dutch as well as international audiences – because it shows how there are always courageous people who remain true to their ideals, even in the most difficult of times.”

House of Hope** will be ready for delivery before the end of 2025. “The Netherlands Film Fund, Omroep ZWART and the NPO Fund were convinced by the extraordinary access we have, the proven track record of the production company 100% Film, and the strong vision of director Marjolein Busstra,” Deelen adds. “They already supported the project for development when the film was taking place in an area that wasn’t in the forefront of our minds, and they doubled down on their support after the situation in the region escalated after October 7, 2023.” Local distribution of the film will be overseen by Cinema Delicatessen.

Director Marjolein Busstra met her protagonist Manar 16 years ago, when working as a photographer in Palestine. They have remained in touch ever since. “As a female filmmaker, I felt compelled to highlight war’s impact through a woman’s eyes – not as a victim, but as an agent of change shaping her world in spite of its uncertainty,” Busstra writes.

“When Marjolein came to 100% with this idea, we talked about the fact that we are both Western, white, and not from the region — the familiar conversation about who gets to tell which story,” Deelen tells Business Doc Europe.

“But Manar wanted Marjolein to make this film, because she trusted her due to their long-standing relationship, and because what mattered most to Manar was that the Western world would come to understand their daily reality and perspective. We then involved a Palestinian crew and the Palestinian co-producer Philistine Films, to ensure that the story would also be told from within and that the local perspective would be embedded at every step of the process.” 

“Marjolein is known for her sensitive, immersive style and her ability to capture vulnerable stories with respect and artistry,” Deelen praises her director. “Her previous work (We Don’t Talk, I Love My Muslim) shows her talent for translating complex, often painful realities into cinematic, urgent and intimate storytelling. She has earned international festival recognition and nominations, proving she can deliver at the highest level.”

“The production and business plan is solid, combining international collaboration with local expertise,” she adds. “100% Film in the Netherlands, and Philistine Films in Palestine, supported by an external security advisor. Safety, cultural sensitivity, and consent have been carefully built into every stage of the process. In addition, we have worked with a Palestine crew on the film. With Omroep ZWART and Cinema Delicatessen already attached for television and Dutch distribution, and a festival-first release strategy in place, the film rests on a strong financial and distribution foundation.”

Deelen further describes the film’s qualities, both visually and in terms of sound. “House of Hope has an intimate, observational aesthetic, filmed over three years with patient, close access to Manar and Milad’s home and school,” she says. “The strong cinematography brings immediacy and urgency, while staying poetic and respectful. Classroom scenes, nightly raids, and the everyday tenderness of family life are captured in natural light with minimal intervention.”

“The sound design by Regard Ibrahim and music by Yamen Martini and Jesse Koolhaas add emotional layering, while subtle animation of photographs gives context and background to Manar’s intrinsic personal motivation. The overall look combines raw realism with quiet beauty, immersing the audience in resilience amid chaos.”

Producer May Jabareen of Philistine Films explains to Business Doc Europe why she boarded the project. “When I first read the pitch deck and watched the initial footage, I was impressed not only by the beautiful execution but also by how refreshing this story feels compared to the general Palestinian cinematic narrative,” she says.

“Palestinians are so much more than what we see in the news or mainstream outlets. At the heart of our fight and struggle is love and hope. Yet we live in a reality filled with violence and distress, making our lives full of contradictions. Showing this reality through the story of Manar and Milad, with the utilized visual approach and rhythm, makes it all sink in and resonate deeply with the viewer.”

“I’m truly glad I had the chance to be part of this unique project, and grateful to Marjolein for choosing to tell this story, and to 100%’s amazing team for helping bring it to life and making us a part of it,” she adds.

Unsurprisingly, there is a very strong outreach dimension to the production. Deelen and her colleagues at 100% are working with Think-Film on the Impact campaign. “The campaign focuses on education and trauma-healing in conflict zones, linking screenings to discussions with NGOs and educational institutions,” she says. “The aim is to move beyond festival audiences and foster dialogue about resilience, childhood, and non-violent resistance in regions marked by violence. In the Netherlands, a parallel track is being designed with local impact producers and partners, ensuring that the film not only resonates artistically but also contributes to tangible societal conversations.”

“We hope that by combining a strong festival trajectory with a purpose-driven impact campaign, House of Hope will live far beyond its premiere, reaching diverse audiences and positioning itself as both an artistic achievement and a catalyst for dialogue,” Deelen signs off.

House of Hope is part of IDFA Luminous. Find out more about the Dutch selections at IDFA here.

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*film supported by the Netherlands Film Fund
**supported by the Netherlands Film Fund and Netherlands Production Incentive