Cinema Amid the Ruins: How Two Sisters Built a Movie Theater For the Children of Gaza

Before the war, Gaza had very few movie theaters, and cinema culture was already fading among younger generations. Most cinemas disappeared decades ago due to a combination of economic, political, and social factors. The war has worsened this situation by destroying or damaging cultural centers, including the few remaining cinemas. Schools, libraries, parks, and sports fields have also been lost, leaving children with almost no spaces to experience normalcy or joy. The term genocide refers to the deliberate destruction of a group, which in this context highlights the severe impact on Gaza’s population, particularly children. Hundreds of thousands of children have been out of school for nearly three years because most schools have been destroyed or repurposed as shelters for displaced people. This loss of infrastructure has created a generation of children growing up in isolation, without access to education or recreational activities.

Haws Cinema was created by sisters Shaimaa and Safaa Dhabban as a way to bring back a sense of normalcy for children in Gaza. The idea came from their childhood habit of watching animated movies together after school. Shaimaa holds a degree in information technology and worked as a graphic designer before the war, while Safaa studied English and translation and previously ran an online business selling Korean food. Their project is rooted in a desire to share their love for cinema with other children in Gaza, who have lost access to such experiences. The sisters chose the name Haws Cinema (Haws means cinema in Arabic) to reflect their mission. Their goal is not just entertainment but also emotional support, as they recognize that children need an escape from the constant trauma of war.

The sisters faced immense challenges in rebuilding the cinema. Their first task was clearing rubble blocking the path to the cinema, which took months of manual labor because heavy machinery was unavailable. Sourcing electricity was another major hurdle. They initially considered solar power but found it too expensive. A generator was purchased, but power outages were frequent due to damaged infrastructure. Even with a backup generator, fuel shortages made it unreliable. Internet access is also limited because the infrastructure has been destroyed, forcing Safaa to stay up all night downloading films as the connection frequently cuts out. Basic materials like tarpaulins, fabric, and metal sheets were needed to create a darkened screening room, but these items are now very expensive due to restrictions on raw material imports into Gaza.

Choosing appropriate films for screenings is critical because children in Gaza have experienced extreme trauma. The sisters carefully select entertaining films that are free of violence to avoid triggering distress. Before screening any film, they watch it in full to ensure it is suitable. This process reflects their broader goal of supporting children’s emotional health rather than just keeping them occupied. After screenings, discussions often continue online, with children and parents suggesting films via social media. The cinema has become an interactive experience that combines entertainment and education. Shaimaa closely observes the children’s reactions during screenings, noting that even brief moments of joy can help distract them from the war around them.

Despite the cinema’s popularity, many families in Gaza cannot afford even the cheapest tickets due to extreme poverty. Mass unemployment and the collapse of household incomes mean that any extra expense is a significant burden. Transportation infrastructure has also broken down, preventing many children from attending screenings. The sisters recognize that having a place for children to relax is as essential as other wartime necessities, such as food or shelter. Many children in Gaza do not have access to television because most homes have been destroyed, and even when a working TV exists, there is often no electricity to power it. The cinema offers a rare opportunity for shared experiences, as children gather to laugh and watch stories unrelated to the destruction around them.

The cinema provides a fleeting escape for children who have lost so much. One child bought two tickets to a screening, explaining that one was for himself and the other for his brother who had been killed. This highlights the deep emotional needs of the children, who long for connection and normalcy. Another child wished he could take the cinema screen home to his tent, only to realize it wouldn’t fit. A girl mentioned that her phone’s screen had broken and her father couldn’t afford to repair it, so she came to the cinema to watch films she loved. These stories illustrate how the cinema fills gaps left by destroyed homes, lost possessions, and the absence of simple pleasures. For Shaimaa and Safaa, the cinema’s value lies in offering moments where children can feel that life might continue, even if only temporarily.