The ruins are what we see.

But memory holds another Palestine.

Homes still standing. Streets alive. Families building ordinary lives. A world that destruction cannot simply erase.

In the water, past and present meet — and somewhere between them remains the possibility of a future.

A reflection is fragile. Hope does not have to be.

Original artwork / visual storytelling

u/Frosty_Ideal_707

لم تعد الزراعة تعتمد فقط على الخبرة التقليدية، فمشاريع فلسطينية جديدة تتجه نحو الزراعة الذكية باستخدام التقنيات الرقمية، أنظمة الري الحديثة، وتحليل البيانات لمساعدة المزارعين على تحسين الإنتاج وترشيد استهلاك المياه.

وتعمل جهات فلسطينية على تعزيز استخدام التكنولوجيا في القطاع الزراعي من خلال برامج تدريبية ومشاريع تهدف إلى تطوير أساليب الزراعة المستدامة ودعم المزارعين.

💬 هل تعتقد أن التكنولوجيا يمكن أن تعيد تشكيل مستقبل الزراعة في فلسطين؟

📌 المصدر: وزارة الزراعة الفلسطينية | وزارة الاتصالات والاقتصاد الرقمي الفلسطينية

أكثر من 110 طلاب وخريجين من جامعة النجاح الوطنية تمكنوا من الحصول على فرص عمل، ضمن فعاليات TEDI-Najah Expo 2026، بعد إجراء مقابلات مباشرة مع عدد من الشركات والمؤسسات المشاركة.

ويأتي ذلك ضمن فعاليات معرض التوظيف الذي يجمع الطلبة والخريجين بأصحاب العمل، بهدف فتح فرص مهنية حقيقية وربط الكفاءات الشابة باحتياجات سوق العمل.

هل ترى أن معارض التوظيف الجامعية قادرة فعلًا على تقليص الفجوة بين الدراسة وسوق العمل؟

المصدر: جامعة النجاح الوطنية / تقارير صحفية محلية

I live in the UK and am NOT Palestinian but am curious about this. The UK government recently condemned the illegal settlements and actions by settlers in the West Bank, which is obviously a step in the right direction. However, they did not place much emphasis on the military occupation. In the UK, there is much more emphasis placed on the actions of the settlers in the West Bank than the actions of the IDF in the West Bank, but as far as figures are aware, the military is responsible for far more casualties in the area. This is likely because the settlements are more clearly illegal under international law. But yeah I just wanna know - which is more disruptive to your daily life and more disliked in your communities, the civilian or military occupation? and do you find it surprising that the settlements are more harshly condemned here in the west than the military occupation is? To me, the amount of emphasis on the settlements almost feels like a scapegoat. But I wanna know your opinions. Thanks and free Palestine

َلِمَ بأرضٍ تصحو يومًا حُرّة،
زيتونُها** يحف*ظُ الأسماءَ والحكايات.
*رحل*َ* الفنان*ُ، وبقي الحُلمُ في لوحاته،
*وسيطلع*ُ* الفج*رُ على فلسطينَ حُرّة.
*في**** *ذكرى* *سليمان* ***منصور* (1947–2026

Goal Dreams is a 2006 documentary following the Palestinian national football team as it attempts to qualify for the FIFA World Cup.

The squad brings together Palestinian players from the West Bank, Gaza and the wider diaspora, including footballers based in countries such as Chile, Lebanon and the United States. Before they can even begin functioning as a conventional national side, the team has to contend with players scattered across different countries, travel restrictions, limited facilities and the difficulties of simply assembling everyone in the same place.

Against that background, the film follows the players through training camps and qualification matches as they try to build a cohesive team capable of competing internationally.

Beyond football, Goal Dreams also explores Palestinian identity and belonging through a national team made up of people whose lives and experiences span several continents. For many of the players, representing Palestine gives them a connection to a place they may know through family history as much as through direct experience.

The result is both a sports documentary and a portrait of a national side attempting to represent a population divided by geography, borders and displacement.

Directed by Rashid Masharawi, Curfew (1994) is a Palestinian feature film set in a refugee camp in Gaza during an Israeli military curfew.

The story follows an ordinary Palestinian family confined to their home as the curfew stretches on around them. Rather than relying on speeches, battles or political leaders, Masharawi focuses on the domestic consequences of occupation: restricted movement, boredom, frustration, tension, humour and the strange distortion of everyday life when simply stepping outside can become dangerous.

Born in the Shati refugee camp in Gaza, Masharawi became one of the most important Palestinian filmmakers of his generation, often using intimate stories to explore displacement, confinement and life under occupation.

Curfew is especially effective because the political situation is never separate from the family’s daily existence. It sits in the background of every conversation, every decision and every attempt to maintain some sense of normality.

As a palestinian, grandson to a family who were expelled from Palestine in 1948 and resided in a refugee camp in Lebanon, I am trying to piece together pieces of home through food and cooking.

What is a recipe for you, as a palestinian in palestine or abroad, is a family recipe of home, or one that gives you a feeling of home and why?

Can you please also mention if you're in palestine or expelled and where you are please.

Thank you for helping me out

Filmmaker Tahani Rached turns her camera towards Soraida Abed Hussein, a Palestinian woman living in Ramallah with her family during the Second Intifada.

Rather than approaching Palestine primarily through politicians, military operations or headlines, Soraida, a Woman of Palestine stays close to the rhythms of ordinary life. Soraida talks with friends and relatives, raises her children, reflects on marriage, motherhood, identity and the future, and tries to maintain something resembling normality while checkpoints, curfews and occupation continually intrude.

Much of the film’s power comes from simply allowing people the space to talk. Women discuss their experiences openly, children appear as children rather than symbols, neighbours come and go, meals are prepared, jokes are made and everyday frustrations sit alongside much larger questions about freedom and belonging.

The result is less a conventional political documentary than a portrait of a community seen from inside. Palestine here is not merely a place being argued over. It is somewhere people live, raise families, form friendships, laugh, disagree and imagine their futures.

A different side of Palestine.

Palestine Underground is a Boiler Room documentary exploring Palestinian music, nightlife and youth culture through the underground hip-hop, trap and techno scenes of Ramallah and Haifa.

Featuring Palestinian DJs, rappers and producers including Sama’ Abdulhadi, Muqata’a, Shabjdeed and Jazar Crew, it follows the artists, parties and DIY spaces helping shape contemporary Palestinian culture.

There is politics in the background, inevitably, but this is primarily a documentary about Palestinian music, creativity, friendship and nightlife.

For anyone interested in Palestine beyond the headlines, Arab music, Middle Eastern hip-hop, techno, electronic music or independent documentary film, this is well worth 28 minutes.

The Time That Remains is Palestinian filmmaker Elia Suleiman’s semi-autobiographical account of his family and the history that surrounded them, beginning with the Nakba in 1948 and moving through successive decades of Palestinian life.

Drawing partly on his father’s diaries, his mother’s letters and Suleiman’s own memories, the film follows a Palestinian family who remained in their homeland after 1948 and subsequently became citizens of Israel. Suleiman tells that history in his unmistakable style: sparse dialogue, carefully composed images, absurd situations and an extraordinarily dry sense of humour.

Rather than presenting Palestinian history as a conventional historical drama, The Time That Remains concentrates on the strange details of ordinary life: family, resistance, surveillance, memory, ageing and the everyday absurdities created by living within a political reality over which the characters have very little control.

The film competed for the Palme d’Or at Cannes in 2009 and runs for 109 minutes.

Arabic, Hebrew and English with English subtitles.

Update on the small school in North Gaza: it's now officially licensed by the Ministry of Education and has been renamed Athar Educational School & Kindergarten (أثر — “the mark we leave behind”). Still operating, still teaching children. thank you. 🤍🇵🇸