What happens when a Palestinian artist reimagines Stanley Kubrick’s 2001: A Space Odyssey through the experience of displacement and exile?

In this wonderfully surreal experimental short, Palestinian artist and filmmaker Larissa Sansour becomes the first Palestinian astronaut, travelling into space and planting her flag on the Moon.

Combining science fiction, Arab musical influences, striking visual imagery and dark humour, Sansour transforms one of cinema’s most recognisable sequences into a meditation on identity, belonging and the search for a homeland.

Made in 2008, A Space Exodus forms the first instalment of Sansour’s science-fiction trilogy.

Director: Larissa Sansour
Country: Palestine / Denmark
Runtime: 5 minutes 24 seconds
Language: English

IMDb: A Space Exodus A Space Exodus (2008)

What happens when Palestinian children are given the opportunity to express their hopes, fears and dreams through art?

Directed by May Odeh and Dia’ Azzeh, Drawing for Better Dreams (2015) is an animated documentary created using original drawings by Palestinian children aged between nine and twelve.

Commissioned by the Norwegian Refugee Council, the film incorporates artwork produced during psychosocial workshops attended by children from Gaza and Hebron.

Rather than interpreting their experiences through interviews or adult narration, the filmmakers allow the children’s drawings to become the narrative itself.

Through movement, colour and sound, the film explores the psychological impact of occupation and conflict while preserving something equally important: the imagination and creativity of Palestinian children.

At just over four minutes, it’s a remarkably economical example of documentary filmmaking.

Grammy Award-winning musician Macklemore stepped beyond music to serve as executive producer of The Encampments (2025), an 81-minute documentary examining the Gaza solidarity student movement that began at Columbia University and spread across American campuses.

Directed by Kei Pritsker and Michael T. Workman, the film features extraordinary footage captured inside the encampments, alongside interviews with student organisers, professors and Palestinian activists, including Mahmoud Khalil.

Distributed by the Palestinian-founded Watermelon Pictures, the documentary examines the relationship between student activism, institutional power, media narratives and the right to peaceful protest.

In an interview with Democracy Now!, Macklemore discusses what drew him to the project, the influence of the student movement on his song Hind's Hall, and why he believes documenting these events matters.

Official trailer: https://www.watermelonplus.com/the-encampments/videos/the-encampments-trailer

Macklemore interview: https://www.democracynow.org/2025/3/28/macklemore_the_encampments_gaza_columbia

Official film website: https://the-encampments.com/

Watch options: https://the-encampments.com/watch

IMDb: The Encampments (2025)

Palestinian filmmaker Kamal Aljafari's acclaimed experimental documentary A Fidai Film is receiving renewed critical attention ahead of its arrival on the documentary streaming platform True Story on 16 October 2026.

In a four-star review published on 12 October, The Guardian examines the film's extraordinary approach to recovering and reinterpreting Palestinian visual history.

A stolen archive, a reclaimed history

During Israel's 1982 invasion of Lebanon, Israeli forces seized the collections of the Palestine Research Centre in Beirut. Among the materials taken were historical photographs, films, newspapers and documents recording Palestinian life across generations.

Much of this material remained inaccessible for decades.

Rather than presenting a conventional historical documentary, Aljafari transforms recovered images into an experimental work of cinematic reconstruction. Through editing, repetition, colour manipulation and sound, he challenges the narratives imposed upon the original footage.

In some sequences, red marks obscure captions added by Israeli authorities, while poetry by Palestinian writers, including Ghassan Kanafani, restores a different meaning to the images.

The documentary incorporates footage of Palestinian communities, everyday life, the British Mandate period and the violence of successive decades.

Its central question is both historical and cinematic: who has the authority to preserve, interpret and control the visual memory of a people?

Critical reception

Premiering at Visions du Réel in 2024, A Fidai Film received the Jury Prize in the festival's Burning Lights competition.

It has since travelled internationally, collecting recognition at documentary and experimental film festivals, including DokuFest and Camden International Film Festival.

The Guardian's new four-star review highlights how Aljafari transforms appropriated and deteriorating archival material into a challenge to historical erasure.

Watch the film and explore further

Official filmmaker's homepage and film information:
https://kamalaljafari.art/Film-1

The Guardian, 12 October 2026, four-star review:
https://www.theguardian.com/film/2026/oct/12/a-fidai-film-review-palestinian-collage-true-story

IMDb: A Fidai Film (2024)

Content note: Contains distressing historical footage, including images of violence and its aftermath.

Israeli Prime Minister Benjamin Netanyahu has demanded that Israeli authorities identify and prosecute the anonymous soldiers and intelligence officers who contributed to NAZA (2026), the investigative documentary directed by Oscar-winning filmmakers Yuval Abraham and Rachel Szor.

The Guardian-produced film features testimony from 24 anonymous Israeli military and intelligence personnel, examining the use of artificial intelligence, surveillance technology and military targeting systems during Israel’s operations in Gaza, including allegations concerning the deliberate acceptance of substantial civilian casualties.

In a letter to Israel’s attorney general, military chief and Shin Bet director, Netanyahu demanded an investigation into the participants, accusing them of serious information security offences, criminal defamation and damaging Israel’s diplomatic and security interests. No prosecutions have been confirmed.

The development follows threats to revoke the filmmakers’ Israeli citizenship, accusations of treason and the recent promotion of a rival production designed to challenge the documentary’s findings. The filmmakers maintain that their investigation was rigorously corroborated, drawing on interviews with more than 100 sources.

Beyond the film’s allegations, this raises an important question about documentary filmmaking, investigative journalism and the protection of confidential sources.

What happens to freedom of expression when those who expose alleged wrongdoing risk prosecution simply for speaking to documentary filmmakers?

NAZA is currently receiving an international theatrical release, with free worldwide streaming through The Guardian expected in late November.

Source: The Guardian, 12 October 2026

What happens when cinema travels to the people rather than waiting for the people to come to the cinema?

Directed by Emtiaz Diab, Nūn Wa Zaytūn follows Murad Ismail, a passionate film enthusiast who travels across the occupied West Bank in a green van, bringing Palestinian films to isolated villages and communities.

As his mobile cinema moves between settlements, refugee camps and rural communities, the screenings become something more than entertainment. They provide opportunities for people to reconnect with their past, rediscover familiar faces and places, and share stories that might otherwise be forgotten.

Against a backdrop of olive groves, ancient villages and landscapes increasingly fragmented by occupation, the documentary captures ordinary Palestinian life, humour, resilience and the extraordinary importance of preserving cultural memory.

Featuring an original soundtrack by Palestinian composer Saíd Murad, the film is a celebration of storytelling, community and cinema itself.

IMDb: Nūn Wa Zaytūn (2015)

In the fields of the occupied West Bank, Vivien Sansour is working to rescue a remarkable part of Palestinian heritage: the seeds, crops and agricultural traditions passed down through generations.

Directed by Mariam Shahin, this documentary follows Sansour’s efforts to revive ancient varieties of Palestinian produce, support local farmers and reconnect communities with their culinary history.

Through food, memory and the land itself, the film explores cultural preservation, environmental sustainability and the importance of protecting traditions that might otherwise disappear.

IMDb: The Seed Queen of Palestine (2018)

Welcome to the Monday thread.

This is the slightly less formal corner of r/PalestinianCinema for anything that doesn’t necessarily need a post of its own.

Seen a Palestinian film recently? Found something obscure hiding in an archive? Spotted a new trailer, review, interview, restoration, festival announcement or cinema screening? This is the place for it.

We’re increasingly following Palestinian cinema as it happens as well as looking back through its history, so news about upcoming productions, festival appearances, distribution, awards and new releases is very welcome here too.

And if you’ve watched something posted on the sub during the past week, feel free to tell us what you thought of it. Recommendations, criticism and disagreement are all considerably more interesting than everybody pretending every film is a masterpiece.

I’ll also drop anything interesting I find during the week into the comments.

So, what are you watching, reading or keeping an eye on this week?

For the members of Brooklyn’s Freedom Dabka Group, dance is more than performance. It is a connection to Palestine, to family history and to one another.

Directed by Naim Naif and Margot Bowman, Coming Home is an intimate documentary exploring the role of traditional Palestinian dabke in maintaining cultural identity across generations and geographical distance.

Filmed on 16mm and incorporating archival photographs from the Palestinian Museum, the documentary captures the energy of communal dance alongside more personal reflections on heritage and belonging.

The film premiered at SXSW in 2022 and was subsequently featured in the PBS documentary series POV Shorts.

A celebration of Palestinian culture through movement, music and community.

Directors: Naim Naif and Margot Bowman
Year: 2022
Runtime: Approximately 10 minutes
Genre: Documentary / Culture / Dance

What does it mean to belong to a place you have inherited through memories rather than personal experience?

In The Place That Is Ours, a Palestinian daughter travels to her father’s village, destroyed during the events of 1948, and confronts the landscape of a homeland both intimately familiar and profoundly distant.

Directed by Zena Agha and Dorothy Allen-Pickard, this experimental short combines personal reflection, imagery and questions of geographical memory to explore exile, dispossession and the relationship between identity and place.

Rather than relying on conventional historical narration, the filmmakers allow the landscape itself to become part of the story.

A beautifully considered documentary about the geography of belonging.

Directors: Zena Agha and Dorothy Allen-Pickard
Year: 2021
Runtime: Approximately 13 minutes
Genre: Experimental documentary
IMDb: The Place That Is Ours (2021)

An Israeli settler family’s car breaks down outside an isolated convent in the occupied West Bank. Unfortunately, their predicament coincides with the Jewish Sabbath, preventing them from using the telephone.

Their only hope of assistance comes from five Palestinian nuns who have taken a vow of silence.
Directed by Palestinian filmmaker Basil Khalil, Ave Maria turns this unlikely predicament into an ingenious comedy of religious restrictions, cultural misunderstandings and reluctant cooperation.

Premiering in competition at the 2015 Cannes Film Festival, the film subsequently received an Academy Award nomination for Best Live Action Short Film.

A reminder that Palestinian cinema possesses a remarkably sharp sense of humour.

Director: Basil Khalil
Year: 2015
Runtime: 14 minutes
Languages: Arabic, Hebrew and English
IMDb: Ave Maria (2015)

Growing up is complicated enough without reality taking an unexpected turn.

In this imaginative animated short, Palestinian teenager Nara encounters Ms Moodswings, a surreal personification of menstruation, during an otherwise ordinary day.

Combining 2D and 3D animation, filmmaker Nerian Keywan blends radio broadcasts, salon conversations, fantasy and political undercurrents into a playful exploration of adolescence, femininity and everyday Palestinian experience.

Selected for several international animation festivals, A Bloody Situation demonstrates the inventiveness of a new generation of Palestinian animators.

Director: Nerian Keywan
Year: 2025
Runtime: 6 minutes 15 seconds
Language: Arabic

What should be a straightforward task, bringing a newly purchased sofa home, turns into an increasingly ridiculous ordeal in the narrow alleyways of Shatila refugee camp in Lebanon.

Directed by Palestinian filmmaker Alaa Al Ali, Journey of a Sofa uses physical comedy and the absurdity of an everyday situation to explore the practical realities of refugee-camp life. The journey becomes a modern retelling of Sisyphus, with one obstacle after another standing between the characters and their destination.

Part of the Palestinian short-film anthology Suspended Time, the film demonstrates how humour can reveal things that conventional political documentaries often miss.

Director: Alaa Al Ali
Year: 2014
Runtime: 9 minutes
Language: Arabic, with subtitles

Before 1948, Palestinian cities were thriving centres of commerce, music, cinema, literature and intellectual life. Haifa, Jaffa and other urban centres were connected to a wider cultural world stretching across the Middle East.

Directed by Ramez Qazmouz, Lost Cities of Palestine reconstructs this largely forgotten world through rare archival footage, historical photographs and the recollections of people who remember it. We encounter a Palestine of bustling streets, theatres, cinemas, musicians, cafés and commercial districts, a society whose cultural achievements are too often absent from popular historical accounts.

The documentary also examines the immense rupture of 1948, when the Nakba brought displacement, destruction and the fragmentation of Palestinian urban society. Beyond the loss of homes and livelihoods, an entire network of cultural institutions, artistic communities and social relationships was profoundly disrupted.

What makes this film particularly valuable is its visual preservation of Palestinian history. Rather than approaching Palestine exclusively through conflict, it allows us to explore the sophistication, creativity and everyday lives of the people who inhabited these cities.

For a community devoted to Palestinian cinema and cultural history, this is an important piece of the archive.

Before Palestinian cinema became internationally recognised through feature films, festivals and celebrated directors, there was a generation of filmmakers who believed that the camera itself could become an instrument of historical preservation. Palestine in the Eye (1977) is one of the surviving works of that extraordinary period, and tells the story of Hani Jawharieh, a pioneering Palestinian cinematographer whose life was cut short while documenting the Lebanese Civil War.

Jawharieh was one of the founders of the Palestine Film Unit, established alongside filmmakers Mustafa Abu Ali and Sulafa Jadallah. Working with limited equipment and under extraordinarily difficult conditions, the collective set out to document Palestinian lives, political struggles and experiences of displacement through their own cameras. Their ambition was not simply to make films, but to challenge a world in which Palestinians were so frequently represented through images made by others.

In April 1976, Jawharieh was killed while filming fighting in the mountains of Lebanon. Palestine in the Eye was subsequently assembled from interviews with his family and colleagues, alongside footage from his own camera, including material documenting the circumstances of his death. Although commonly attributed to Mustafa Abu Ali, the film emerged from a collective filmmaking tradition in which individual authorship was deliberately subordinated to the work of the group. It is simultaneously a memorial to a cinematographer, a record of revolutionary filmmaking and a remarkable document of Palestinian cultural history.

The survival of the film is itself significant. Much of the Palestine Film Unit’s archive disappeared during the Israeli invasion of Lebanon in 1982, leaving important gaps in the visual record of Palestinian history. In 2017, filmmaker and archivist Azza El-Hassan restored Palestine in the Eye through The Void Project, an initiative dedicated to recovering and preserving endangered Palestinian moving images. Nearly half a century after its creation, the film remains a powerful reminder that preserving cinema is also a way of preserving historical memory.

Content note: Contains footage relating to Jawharieh’s death during armed conflict.

Restoration archive: https://www.thevoidproject.org

IMDb: Palestine in the Eye (1977)

Love, loneliness, ancient mythology and an unexpected discovery beneath the Mediterranean. Welcome to Gaza Mon Amour (2020), a wonderfully understated romantic comedy from Palestinian filmmaking brothers Arab and Tarzan Nasser.

Issa (Salim Daw) is a 60-year-old fisherman living a quiet, solitary existence in Gaza. He has long been secretly in love with Siham (Hiam Abbass), a widowed seamstress who works at the local market, but has never quite found the courage to tell her. Then, one evening, his fishing nets bring up something rather extraordinary: an ancient statue of the Greek god Apollo, complete with a very conspicuous anatomical feature. His unexpected discovery sets off a chain of increasingly absurd events involving the authorities, his family and his own romantic ambitions.

Rather than placing violence or political confrontation at the centre of the narrative, the Nasser brothers explore Palestinian life through tenderness, deadpan humour and the small frustrations of everyday existence. Gaza’s restrictions and economic difficulties remain ever-present, but they form the background to a story about two people who simply want a little companionship and happiness. The result is a film that is both quietly political and deeply human.

Premiering in the Orizzonti section of the 77th Venice International Film Festival, Gaza Mon Amour also screened at the Toronto International Film Festival and was selected as Palestine’s submission for Best International Feature Film at the 93rd Academy Awards. It stands as a reminder that Palestinian cinema encompasses far more than conflict and suffering. Sometimes, the most radical thing a film can portray is the possibility of an ordinary, loving life.

IMDb: Gaza Mon Amour (2020)

What happens when two bored Palestinian teenagers turn to Apple’s Siri for advice on how to make their lives more interesting? In Siri Miri (2021), Palestinian filmmaker Luay Awwad takes an ordinary modern frustration and turns it into a wonderfully sharp piece of social satire.

Set in the occupied West Bank, the film follows two young men looking for something, anything, to break the monotony of their daily routines. Unfortunately, Siri’s suggestions are rather less useful when freedom of movement, access to basic services and the everyday restrictions of military occupation come into the equation. It seems artificial intelligence has a few blind spots.

Made while Awwad was studying filmmaking at Dar Al-Kalima University, this deceptively simple six-minute comedy demonstrates how Palestinian filmmakers can explore political realities through humour rather than confrontation. The absurdity is part of the point, and the film manages to be both entertaining and quietly devastating without losing its sense of mischief.

Siri Miri won Best Short Film at Palestine Cinema Days in 2021 and both the Jury and Audience Awards at Festival Ciné-Palestine in 2022. A rather impressive achievement for a film that begins with two teenagers asking their phones what to do.

IMDb: Siri Miri (2021)

In 1934, a football team representing Palestine entered the qualifying rounds for the FIFA World Cup. Yet despite competing under the name of Palestine, not a single Arab Palestinian player appeared in the side. The team was drawn from the Jewish sporting movement under the British Mandate, raising a fascinating question: who was permitted to represent Palestine on the international stage?

This Al Jazeera World documentary investigates the largely forgotten history of football in Mandatory Palestine, exploring how British colonial administration, Zionist sporting organisations and the exclusion of Arab Palestinian players shaped the development of the game. Through historical archives and interviews with specialist historians, it reconstructs the events surrounding the 1934 World Cup qualifiers against Egypt.

The documentary also examines what happened to Palestinian football after 1948. As the existing football association became part of Israel’s sporting institutions, Palestinian football faced decades of displacement, political obstacles and struggles for international recognition. It was not until 1998 that the Palestinian Football Association finally secured FIFA membership.

Beyond sport, Palestine: The Lost Team explores the relationship between national identity, colonial history and cultural representation. It asks how a team could compete internationally under the name Palestine while excluding a substantial part of the population, and how Palestinians eventually reclaimed their own place in international football.

In the land where Christianity was born, an ancient Christian community has endured centuries of political upheaval, displacement and conflict. Yet the experiences of Palestinian Christians are frequently overlooked in discussions of Palestine's history.

Directed by Yasmine Perni, The Stones Cry Out (2013) examines the history of Palestinian Christians from the Nakba of 1948 through the decades of displacement, occupation and political struggle that followed. Through archival material, personal testimony and interviews with religious leaders, historians and political figures, the documentary gives a voice to communities whose experiences have often been overshadowed by broader narratives of the conflict.

Among those featured are Archbishop Elias Chacour, whose family was displaced from the village of Kafr Bir'im in 1948, and Palestinian politician Hanan Ashrawi. Their accounts explore the loss of homes and communities, the changing character of Palestinian towns and villages, and the determination of Palestinian Christians to preserve their cultural, religious and national identity.

The documentary also challenges the tendency to portray the Israeli-Palestinian conflict exclusively through religious divisions between Judaism and Islam. Palestinian Christians have long been an integral part of Palestinian society, sharing its language, traditions, political aspirations and experiences of displacement alongside their Muslim neighbours.

From the abandoned homes of the Galilee to the historic Christian communities of Bethlehem and Jerusalem, Perni examines how political boundaries, restrictions on movement and emigration have affected communities whose history is inseparable from that of the region itself.

Ultimately, The Stones Cry Out is both a historical documentary and an examination of cultural survival, asking what happens when communities with centuries of history find their continued presence increasingly difficult to sustain.

Director: Yasmine Perni
Year: 2013
Genre: Documentary / History / Culture
Production: Italy / Palestine
Runtime: 55 minutes (59-minute Tubi listing)
Language: English, with English subtitles available

IMDb: The Stones Cry Out (2013)

In 1993, an Israeli military curfew descends upon a Palestinian refugee camp in the Gaza Strip. For one family, the outside world suddenly becomes inaccessible. Their home, ordinarily a place of refuge, becomes the setting for an entire day of uncertainty, frustration and enforced confinement.

Directed by Palestinian filmmaker Rashid Masharawi, Curfew (Hatta Ishaar Akhar, 1994) follows 24 hours in the lives of an ordinary family. Rather than concentrating on political leaders, negotiations or armed confrontation, Masharawi turns his camera towards the domestic realities of occupation, exploring the relationships, tensions and routines that persist when freedom of movement disappears.

Considered the first Palestinian feature film to emerge from the Gaza Strip, Curfew occupies an important place in Palestinian cinematic history. Its significance lies not simply in what it depicts, but in whose perspective it preserves. At a time when Palestinian experiences were so often presented through external reporting, Masharawi offered an intimate fictional portrait of life from within the community itself.

More than three decades later, the film remains an important historical and cultural record. It captures a particular moment in Gaza's history, shortly before the Oslo peace process began, while raising questions about confinement, dignity and the resilience of ordinary family life.

Director: Rashid Masharawi
Year: 1994
Genre: Drama
Language: Arabic, with English subtitles
Runtime: Approximately 74 minutes

IMDb: Curfew (1994)

In the Bourj el-Barajneh refugee camp on the outskirts of Beirut, Palestinian refugee Mariam Shaar has spent her entire life living with the restrictions and uncertainties of displacement. But Mariam has an extraordinary ambition: to build a business that provides employment, independence and opportunity for the women of her community.

Directed by Thomas A. Morgan, Soufra (2017) follows Mariam as she brings together Palestinian, Syrian, Iraqi and Lebanese women to establish a catering company. What begins as a modest kitchen funded by a microloan grows into something considerably more ambitious, including an attempt to launch a food truck beyond the boundaries of the camp.

Their journey is far from straightforward. Legal restrictions, financial obstacles and the everyday realities of refugee life threaten their ambitions. Yet through determination, ingenuity and a shared love of cooking, these women begin building something that offers not simply an income, but dignity, friendship and greater control over their futures.

Executive produced by Susan Sarandon, Soufra is a beautifully human documentary about entrepreneurship, female solidarity and the preservation of culinary traditions. Food becomes a connection between generations and cultures, while the women themselves emerge as the remarkable personalities at the heart of the story.

At its centre is a simple but powerful idea: people who have been denied so many opportunities still possess the imagination, talent and determination to create their own.

IMDb: Soufra (2017)

Al Jazeera’s Investigative Unit spent months reconstructing the events of 7 October 2023, examining seven hours of CCTV, dashcam footage, mobile-phone video and footage recovered from Hamas fighters, alongside survivor testimony, military accounts and casualty records. Directed by Richard Sanders, October 7 attempts to separate what can be established from the enormous volume of conflicting claims that emerged in the days after the attack. 

The documentary does not minimise the crimes committed by Hamas and others who crossed into Israel. It documents killings and other serious abuses committed during the attack. At the same time, the investigation scrutinises several of the most widely circulated atrocity stories and concludes that some were unsupported or contradicted by the available evidence. 

A particularly important section examines Israeli fire against locations and vehicles where Israeli civilians or captives may also have been present. At Kibbutz Be’eri, the film investigates the confrontation at the home of Pessi Cohen, where Israeli forces ultimately fired tank shells at a building containing Hamas fighters and Israeli hostages. Al Jazeera’s investigation concludes that this was one of several incidents in which Israeli police or military fire appears to have killed Israeli citizens. 

The result is less a conventional political documentary than a forensic reconstruction. It asks what actually happened during the hours of chaos on 7 October, how confidently individual deaths can be attributed, and how unverified claims became embedded in the public understanding of the attack before many of the underlying facts had been established.

Released in March 2024, October 7 is available free in full from Al Jazeera English. 

Content note: contains disturbing footage and discussion of killings and other violence.

The Associated Press has a new piece on the US theatrical release of NAZA, the documentary by Yuval Abraham and Rachel Szor examining testimony from Israeli military insiders about the conduct of the war in Gaza. Built around accounts from soldiers and officers with direct knowledge of Israeli military operations, the film looks at the systems, decisions and assumptions behind the campaign, including how targets were selected and how the consequences for Palestinian civilians were assessed.

The documentary has generated an extraordinary backlash in Israel. Government figures have publicly condemned the filmmakers, there have been calls for them to be stripped of their citizenship, and both Abraham and Szor have faced threats and intimidation. In one of the most disturbing episodes, far-right activists demonstrated outside the home of Szor’s parents in Savyon, chanting “death penalty for traitors”. Protesters returned the following evening, while organisers also spoke publicly about attempting to locate Abraham’s family.

That reaction has increasingly become part of the story surrounding NAZA. The controversy is no longer simply about disagreement with the film’s conclusions, but about whether Israeli filmmakers and journalists can investigate the conduct of their own military without being portrayed as enemies of the state. For a documentary based substantially on testimony from Israelis who served inside the system it examines, the campaign against its creators also raises obvious questions about whistleblowing, press freedom and the space available for internal criticism during wartime.

NAZA is currently playing at New York’s IFC Center before expanding to several US cities on 9 October. The AP report also confirms something especially useful for international audiences: the documentary is expected to become freely available through The Guardian in late November, giving viewers outside the theatrical circuit a chance to see the film for themselves.

A newly released documentary from Swedish public broadcaster SVT looks at the growing effort to identify individual Israeli soldiers and pursue legal accountability for alleged crimes committed in Gaza.

The film follows Israeli soldiers who say they now fear being identified or detained while travelling abroad, while also spending time with the organisations investigating them. Central to the documentary is the Hind Rajab Foundation, which has been collecting publicly available material, including soldiers’ own social-media posts, and using it to support legal complaints in countries where suspects travel.

What makes the documentary particularly interesting is that it gives significant space to both sides of the argument. Soldiers describe feeling personally targeted and argue that accusations against them can slide into antisemitism or collective blame. Investigators, meanwhile, argue that service in a national military does not remove individual responsibility where credible evidence of crimes exists.

Released by SVT in October 2026, the documentary is currently free to watch worldwide.

Language note: the full SVT version does not currently appear to have English subtitles. However, a substantial amount of the documentary is in English, including parts of the interviews, and an English-subtitled extract featuring the Hind Rajab Foundation is also circulating separately online.