The Time that Remains is a way of interpreting a certain ambience or emotion. These are the stories that my father told me over the course of fifteen or twenty years. I used to listen to him. From the cowardly part of my character, I'm always in fear of not telling the right story. I'm not interested in making epics.

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.

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

There are a lot of questions that come out of the silence. It is so close to the infinite.

Living more intensely, more lovingly, with more camaraderie, that is in itself resistance.

I try to use fiction in order to reduce the potentiality of something being true. We produce our own memories so I'm not sure of truth.