Two things in particular I noticed about Omar, which was Palestine’s nomination for the best foreign language Oscar last year: 1: I’ve never been to Palestine. The closest I’ve come to seeing it in the past is another Palestinian Oscar-nominated film: 5 Broken Cameras. (You may remember this from the Veep joke if you haven’t seen it, but you should see it, and Veep, too.) Threads of the tragedy in that film were Shakespearean in nature—and now, looking back, remind me quite a bit of Leviathan, the Russian film about surviving a corrupt state. Some of that is here in Omar, as well, named for the main character, a baker who pursues militancy as a means to push back against the occupation, but also, chiefly, as a way to ingratiate himself to his secret girlfriend’s brother. If 5 Broken Cameras was a historical tragedy, Omar is a romantic one.