This highly kinetic tableaux of uprooted sights and sounds works most earnestly to expose the racial biases concealed in familiar images. Relying on valuable snippets from feature films such as Exodus, Lawrence of Arabia, Black Sunday, Little Drummer Girls, and network news shows, the filmmakers have constructed an oddly wry narrative, mimicking the history of Mid East politics.

To Ikhlas, a young mother, the most important things in life are her two children, all that is left from an arranged marriage in her teens. Her youngest son Nasser was imprisoned by the Israelis when he was only 15 for defending the cause of the Palestine people. Ikhlas is willing to accept any sacrifice in order to remain in contact with him, but she cannot help wondering whether this is really what her people need to do in order to defend themselves.

Hay mish Eishi, features portraits of 8 Palestinian women from different social and religious backgrounds exploring how they live war and imagine peace in the profound depth of lived realities and felt pains. These are not unusual women, women leaders or exceptional women in the news media sense. They are media and theatre professionals, farming women, a cleaning woman, a boutique owner, a university student, a high school teenage girl, and housewives. These are the ordinary lives which make up the news and which the news makes invisible. They speak with passion, bewilderment, anger, rage and outrage?.they situate themselves in a life of dignity and productivity, where their lives and actions are not reduced to a bundle of fear.They speak of profound losses - of self and direction, livelihood, land, homes and family members. What they say so powerfully and directly through their hopes and wishes is that they want a life of meaning, of sharing, of giving, of routines and rituals, of loving and caring, of ordinariness with all its blessings and grace.They do not want the degrading, terrorizing drama of war

'It's when the mind fails to catch the necessary details, and gives a cloudy picture'. But the picture here is clear, since life was a grain of wheat until it became a bloodshedding. It's when the heart loses its way home, if it changes its name. But the oil here lights, from Jerusalem to Nazareth. It's what the eyes, tired of long sleep, see. But the eyes here are open, haven't closed for years. It could be a child looking for the necessary serenity to meditate. His feet led him to the cemetery. It could be. (Jayce Salloum, fragment).

A film that recounts the situation in Gaza in the wake of Operation Cast Lead. As the filmmakers explain, “We came to Gaza the day after the start of the war and discovered the extent of the Gaza-strophy.”

American documentary filmmaker James Longley travelled to the Gaza Strip in January of 2001, planning to stay for two weeks and collect preliminary material for a film about the Palestinian intifada. He threw away his return ticket and stayed for another 3 months, shooting over 75 hours of material throughout the Gaza Strip. GAZA STRIP follows a range of people and events following the election of Israeli Prime Minister Ariel Sharon, including the first major armed incursion into "Area A" by IDF forces during this intifada. The film is filmed almost entirely in a verite style, presented without narration and with little explanation, focusing on ordinary Palestinians rather than politicians and pundits.

The documentary follows the taxi-van driver Rajai who tries to live and survive in Jerusalem and Ramallah. We see the problems in the region through his eyes. Rajai is the guide in the labyrinth of war, occupation and resistance in a chaotic area. He leads us over detours and mountain dusty roads passed the roadblocks and bit by bit we get to know more about him and his thoughts. The passengers in the van, the places he gets to and the activities he explores besides driving a taxi conjure up a divers image of the situation in Palestine and of Rajai himself.

A personal reportage focusing on concrete actions by Israelis, Palestinians and Internationals working together in the face of, and against, current agendas to displace Palestinians and to limit their movements.

A workshop in which eleven women from Nablus used a camera for the first time and were able to make their own films. This documentary shows a slice of life today in the city of Nablus.