What makes militant art great is that specific combination between the passion for the argument that characterizes activist rhetoric, and the careful observation and privileged – yet non-intrusive – access yielded by cinema when it serves as a document. The film in question follows the efforts of young Basel Adra, a resident of Masafer Yatta – an area that, following the Six Day War, has fallen under Israeli occupation – to prevent the total eradication of the Palestinian presence in the region. Villagers are routinely forced to leave their homes, and even when these evictions briefly stop, any attempts at leading a normal life are thwarted by constant terror, physical and psychological assault. In this setting, Basel meets Yuval, an Israeli journalist sympathetic to the Palestinian cause, and between them develops a friendship made complicated by the common cause and the profoundly different meaning it has for each of them: Basel sees his struggle as a form of inheritance as much as an inevitable destiny, while Yuval knows that for him this is a choice he can always undo. However still, the very fact that this film exists, as the combined effort of two Palestinians and two Israeli filmmakers, gives hope that no barrier is insurmountable and that no collective wound is incurable.