It's important for me to not historicize. I work to diffuse the issue of identity and to intensify identification. You have to lose your authority in the making of a film to achieve this. The film is about me being absolutely dislocated. I focus on the very personal to arrive at the very political.

A lot of narrative films leave you no space for anything else but eating popcorn. I want to go in the complete opposite direction. I have to evacuate all psychology, to be less a protagonist and more a presence.

Someone like myself is not from one place. I am in total identification with the New York, French, and Palestine experience and do not stop at the borders of identity.

What cinema can do is the reordering of this reality from a certain chaos or from a certain order into an aesthetic dimension.

To think of a film from the point of view of a tank barrel is already so inhumanly positioned. This is when film can reveal itself scandalously.

Israel, the Israelis, and the rest of the world have been brainwashed. They don't think of pre-1948, they have no idea Palestinians were in Israel, who we were before '48. As if we were born in 1948 according to them. They have no notion that we had a country, houses, rebelled against the Ottomans and the British. They think history in that region started in that moment.

If a person just takes what is socio-political and geographical from the themes of my films then that's not enough. But if the person goes out of the theatre and, for example, makes the dinner he's eating later on, extra nice then I feel that I have succeeded. We have this urge to anaesthetize the moment we're living in.