Anas ek Aili works with Palestinian children in Ramallah. Independently, they create a video to portray their surroundings from their own perspective and their understanding of the language of video.

Liana Badr's documentary locates itself at the checkpoints and Wall crossings within the Palestinian Occupied Territories. Here, the control of walls, gates, and roads is always political, and seemingly simple structures serve not as means of passage but more often as obstacles to the crops, families, schools, and livelihoods of those who must endure their presence.

New and established Palestinian filmmakers came together in a project that reflects the “mood” of the summer of 2006, when Israel carried out military assaults in Gaza and Lebanon. In three minutes or less, filmmakers were asked to tell their stories in a single shot. Despite the fact that Palestinians have been dispersed across the globe, with the majority of them unable to return to their homeland, this project, initiated by the Palestinian Film Collective, was limited to filmmakers who live in Palestine. The result is a mosaic of 13 short films, each less than 3 minutes in length, produced across Palestine that convey the personal, political and poetic spirit of a people struggling for freedom.

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

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.

A video journal reflecting the life of a Palestinian family and a Palestinian town during one year of the intifada. Kalandia is the name of a refugee camp between Ramallah and Jerusalem, but more recently it has become the location of one of the most heavily-traveled Israeli checkpoints in the Palestinian territories. Shot between May 2001 and August 2002, Crossing Kalandia offers a unique perspective on recent events in Palestine.

Through the story of Bir'im, a destroyed Palestinian village, we encounter Nahida and two other women from the kibbutz built on its land. The trio's moving story focuses on a struggle for the return of the villagers to their homeland, a central issue in the Palestinian experience.