In the early stages of production of the participatory interactive documentary Jerusalem, We Are Here (2016), I described the process I had envisioned to a curator friend. She listened intently and then said, “I think you can pull it off, because you don't have an artist's ego.” I wasn't sure whether this was a compliment, but I recalled this statement recently, when I was asked about my position as an Israeli making a project with and about Palestinians, and a metaphor emerged. “I am the central nervous system of this project,” I replied. “But its heart is entirely Palestinian.”

As an Israeli showcasing an actively obfuscated Palestinian past, and as a documentary filmmaker working with non-professionals, I knew from the get-go that I have a lot of structural power: professionally I knew what makes for a good story, and how to go about it. As an Israeli, I also had...

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