There is a giant metaphor sitting in the Occupied West Bank, in the shape of a wall. That isn’t meant to diminish the massive, real-world impact that the wall has on the inhabitants on either side, mind you. It’s simply that the enormous Israeli barrier, bisecting the lands and lives of the people around it, is an extraordinary symbol. Like that of Cold War Berlin, it stands as a powerful representation of something, though what that may be depends on the artist. And few have handled it quite like Hany Abu-Assad. Omar, Abu-Assad’s second Oscar-nominated feature, is the story of a young man stuck in the middle. The titular Omar (Adam Bakri) is linked with the wall from the very beginning. He climbs up and down with just a sturdy rope, commuting (illegally) between his home neighborhood in the West Bank and the bakery where he works. The first act of the film follows his small-time scheme, with friends Amjad (Samer Bisharat) and Tarek (Iyad Hoorani), to shoot an Israeli soldier. All of them are inexperienced and thrilled by the prospect of striking the army, though Tarek emerges as the one with the most ties to the big leagues of organized Palestinian resistance. Complicating all of this is Omar’s chastely passionate relationship with Tarek’s younger sister Nadia (Leema Lubany), inching its way from pecks on the cheek to a proposal of marriage.