Iris Zaki, a leftist artist and filmmaker from Tel Aviv, decides to spend a summer in Tekoa, a trendy West Bank settlement for Israeli hipsters, where she will mostly try to listen to the settlers, people whose political views are on the opposite side of the spectrum from hers. She sets up a small film studio in the town centre, in front of the local mini-market, with a nicely laid table, two chairs, three cameras and herself as one of the protagonists. Hours and days on end, she sits there and waits for people to summon up the courage to come talk to her. The fact that she is willing to wait as long as it takes and to put herself on the same level as the people she would like to speak to convinces more and more people to sit at her table. Naturally, they will talk about politics, about colonialism and about what is happening in Israel. The most important thing, however, is that this device establishes a safe space for some very open, free, personal and complex conversations, for a dialogue between people who in regular circumstances would have no reason to discuss face to face. (Vanina Vignal)