Amreeka begins in the West Bank, on the eve of the U.S. entry into Iraq. Muna, a Palestinian single mom, and her son Fadi are smack in the middle of the area's political troubles. Just traveling from work to home involves humiliating checkpoint stops, with traffic taking hours. Wanting a better life for her son, Muna apprehensively heads to suburban Illinois to live with family, and essentially to start over.
Predictably, Muna and Fadi are treated like hostile enemies by U.S. customs, all who seem to fear or loathe Arabs. This seems to set up a series of one-dimensional characters in Dabis's film: Many Americans are either blindly anti-Middle Eastern, solidly open-minded, or just plain dumb. Yes, there was plenty of hatred -- and far too little thought -- during early 2003, but elaborating on the confusion and addressing the gray areas would have added a challenging and welcome depth to the film.
Regardless, there's still plenty to like about Amreeka. Dabis has a definite skill in sneaking a morsel of humor here and there, keeping the family's problems at the fore. When Muna and Fadi first arrive in the U.S., a customs officer inquires 'Occupation?' Muna replies that, why, yes indeed they were occupied, actually for the last 40 years. The joke is unintended, and we quickly get that these two likable, hard-working people are trading in one major identity issue for another.
As Muna, Nisreen Faour carries a good portion of Amreeka on her zaftig shoulders, and she's often up to the task. Her hesitant decision to head to the States is conveyed without words, as are her familial pride and general befuddlement. If there's a hitch in her performance, it's the big delivery of the few, cheaper laughs. Faour is far more effective playing Muna with her heart and soul, not her funny bone.
For some of the less-experienced supporting players, the reality of Dabis's handheld camera and low-budget look is a considerable help. The visual approach is a smart choice in the early West Bank scenes, adding to the crowded, gritty feeling, and then pays additional dividends later.
When Dabis details life in America for foreigners, Amreeka is at its most interesting. In one engaging scene, Muna and a relative (Hiam Abbass, The Visitor) deal with homesickness by going to Chicago's Middle Eastern neighborhood. While there, Muna dreams of opening a restaurant while her companion, clearly worn down, immediately discounts the aspiration. Muna ends up grabbing a job at White Castle, convincing her family that she works in a nearby bank.
In a far larger sense, Dabis has a parallel to draw between the Palestinians and the Iraqis. Most are good people at heart, a few are violent extremists, and nearly all feel their lands are undergoing a level of occupation. For the moments of Amreeka that seem oddly light or thin, this may be one of its most thought-provoking points.
