We sat down with committee member, filmmaker, and professor, Cole Seidl, to talk about the Witness Palestine Film Festival, November 15-23, 2025. (This was recorded on November 17, 2025.) You can learn more and purchase tickets now at www.wpff.us.

We discuss the importance of showing the diversity of Palestinian films--documentary, narrative, and experimental--as well as reflecting on watching "The Voice of Hind Rajab" with an audience, upcoming films this week (Shorts at Visual Studies Workshop ("A Night We Held Between", "Morgenkreis", "The Flowers Stand Silently, Witnessing"), "All That’s Left of You", "Thank You For Banking With Us", "With Hazan in Gaza", "Palestine 36"), possible award nominations, and Palestinian cuisine with Mama’s Palestinian Dinner on Saturday, Nov 22 cooked by Ahlam Abid.

Cole Seidl is a filmmaker, educator, and literary translator. Once illegally entered the properties of David Lynch and the Sultan of Brunei. Current professor at Monroe Community College. Former Professor at Al Quds University in Abu Dis, Palestine.

The Witness Palestine Film Festival is the primary project of Rochester Witness for Palestine (RW4P), a registered 501 (c)(3), that seeks justice and liberation for the people of Palestine wherever they may be. RW4P's motto "Come and see, go and tell" applies also to the work of WPFF, which aims to provide a space for reflection and discussion, as well as tools for action and change.

The Witness Palestine Film Festival Committee includes activists involved in interfaith and Palestinian solidarity work. As a member organization of the Rochester Committee to End Apartheid, RW4P is dedicated to growing the movement for Palestinian freedom in Rochester, NY, and across the globe.

Chapters:

• 00:01 - Introduction to Representation in Cinema
• 01:38 - Witness Palestine Film Festival's Mission
• 17:30 - Palestinian Cinema and Artistic Expression
• 22:18 - The Diversity of Palestinian Stories
• 26:45 - The Upcoming Events and Mama's Palestinian Dinner

Welcome back to the podcast friends.

It's Jackie McGriff, your host of this episode of Representation in Cinema, where we focus on movies that center the stories and lived experiences of black, brown and indigenous peoples.

If you are watching this on YouTube, make sure y' all go and hit that subscribe button.

If you are listening on any other platforms, make sure you follow, subscribe, like, comment, all the things.

We would really love to have more folks listening in and being a part of this conversation.

As far as updates with us here at our Voices project, we are in the middle of and actually heading towards our last screening of Being Black in America.

And of course with all of our films, we always pair them with panel discussions and our last and final, at least for this year, screening with Being Black in America is going to be focused on black black capitalism and reimagining society beyond capitalism.

So if you'd like to be there for that screening again, it's the last chance to see the film this year.

You can go to Bit Ly Bit Ly Bbia, as in Being Black in America.

That's going to be on Thursday, December 11th at 6:30 at the Legacy Drama House.

So like I said before, when I get there, uh, definitely, definitely sign up.

We can sign up for free.

We're gonna have ASL interpretation.

We'll have refreshments because of course you can't have.

You can't watch a film without snacks.

We'll definitely have snacks for y'.

All.

But if you want to be part of that conversation and see our film, you can go to Bit Ly Bbia.

All right, so we want to focus on a film festival that's actually going on right now as we're recording in its 14th year, committed to uplifting Palestinian voices and stories.

And that's the Wit Palestine Film Festival.

The Witness Palestine Film Festival is the primary project of Roger Witness for Palestine of registered 501c3 that seeks justice and liberation for the people of Palestine, wherever they may be.

Roger Witness for Palestine's motto is come and see, go and tell, which applies also to the work of Witness Palestine Film Festival, which aims to provide a space for reflection and discussion as well as tools for action and change.

The Witness Palestine Film Festival Committee includes activists involved in interfaith and Palestinian solidarity work as a member organization of the Rochester Committee to End Apartheid.

Rochester Witness for Palestine is dedicated to growing the movement for Palestinian freedom here in Rochester and all over the globe.

Joining us in the studio today are folks working behind the scenes to make it all happen.

We have Cole who is a filmmaker, educator, literary translator.

And you're gonna have to fill me in on this next part because apparently you're also someone who illegally enters property.

So one of David lynch and the other the Sultan of Brunei.

Brunei.

Brunei.

Okay.

Yeah, see, I'm behind on my pronunciations here, but can you tell us about.

And then also, too.

Let me just, before you go into that, also former professor at.

Is it Al Quds?

Al Quds, yeah.

Al Quds.

Okay.

University.

Okay.

In Palestine.

So, okay, tell us about the.

If it won't get you in trouble.

I don't think it will.

At least with the estate of David Lynch.

I know Chris was making fun of me before, before this podcast because I said he might get in trouble.

And I'm like, yes, I know he passed away.

I'm saying, come on.

Yeah, I didn't break anything.

No, it was, you know, when I was in.

It was when I was in high school and I was touring colleges in la.

I had a friend who had worked on Fire Walk with me.

He said, do you want to see David Lynch's house?

And so he took me out there and I was like wandering around.

He had like this compound, the one that's on like Zillow now.

And the garage was like slightly ajar and I was able to like, shimmy it up.

And I was like, well, I gotta dig through his garage.

And so I went in, but it was just a pickup truck and a bunch of cans of paint.

There was nothing exciting in there.

Okay.

Okay.

And this.

And the Sultan.

The Sultan of Brunei.

Yeah, I was in Brunei.

And I think I was mistaken as a diplomat or something.

It's just not, like, was not a popular tourist destination.

Okay.

And I had been walking and a cop was like, don't walk this.

Like, we're an oil rich country.

So he like, drove, but with his lights on.

Yeah.

So I pulled up to the Sultan of Brunei's like, thing in like a cop car.

And so like his doorman just opened the door and let me in and I went out and they're like the private bar and they made me a drink mocktail because no alcohol.

And then they like, let me out to the private beach.

And I just hung out on his beach for a while and swam at night.

It was awesome.

I was like, can I get a cab back into town?

Oh, my God.

Just the biggest living palace in the entire world.

Yeah, it was amazing.

So, yeah, I swam on his private beach.

Oh, my goodness.

I don't even know.

Listen.

That is incredible.

Yeah, man.

Thank you so much for, for sharing that.

I love that you also included that in the, how do you not include that in the bio?

So.

No, that's, yeah, well, okay, well we also just, just add in, just add in badass to the, to, to the bio.

For real.

Okay, cool.

So as far as the Witness Palestine Film Festival, let's dive right into the films last night.

We'll talk about last night's film, the Voice of Hind, and then we'll get also into the other films and programs you have coming up in this coming week.

So Leah, let's start with last night's film.

Do you want to introduce for our viewers and listeners what that film is, the synopsis and then just again, your experience watching with the crowd?

Yeah.

So yeah, last night, 6pm at the Dryden, we screened the Voice of Hindra Job, which was, we found out very late in the game, as far as we're aware, currently still the New York State premiere of the film, which was very exciting.

And the Voice of Hindra Job is, it's a narrative film about the story of the Red Crescent Society emergency responders that tried to dispatch the ambulance to save six year old Hindra Job in Gaza.

And they were located in Ramallah.

And so they, it's, it's a dramatization of what they were going through logistically to make it possible to save this six year old girl who was dying in the car along with several of her family members who were already killed.

And of course the real news, it's not a spoiler, the real news story is they shot her over a hundred times and the, and the ambulance drivers and, and it was a turning point in the genocide where we realized that there was no such thing as coordination with the idf.

And.

Yeah, and so that film takes her audio recordings of her pleading with the Red Crescent Society to come save and just uses them wholesale.

And so instead of casting an actor to play Hindra Job, it's just her voice and the voice of her mother, like all the voices on the line are the actual recordings from that day.

And then they have Palestinian actors act as the emergency responders.

And so they're acting against real recordings.

And the movie makes very clear what is real and what isn't in a really interesting way.

But it is, it's a almost, you know, real time recreation of, of that day.

Yeah, and, and it's a brutal movie.

Yeah, it's, it's really, it's, it's really difficult historically, has been difficult to sit through when, when we were in Toronto, it premiered and played in Toronto, and they had psychologists on hand for anybody who needed it after the show.

So it's a.

It's a situation where it's just.

It tends to be really difficult to sit through.

But.

But we watched it as a screener, you know, when we're planning the festival, and then when we were at the screening last night, there was something kind of.

I don't want to use the wrong word, but like, there is something really sort of palpable in.

In the atmosphere, in the air.

It was really interesting because the film ends and.

And only a couple times have I ever seen it where, you know, the credits play and not a single person gets up and leaves.

They just.

It's complete silence for, like eight minutes.

Credits.

And then even after the credits, even after almost everybody had left the room, I thought it was done, but there was a few people that just hung in their chairs like they could not leave.

They had to, like, process.

Yeah, yeah.

And so that was a really, like.

It was a really profound moment of sort of an audience collectively sort of going through this.

You know, it's.

You want to overstate it is.

It's a movie, but there's a collective sort of grieving process that the movie brings about.

Where you have to go like, this is.

We have to engage with the reality here.

And everybody.

I assume the vast majority of people in the audience knew the story, but.

But there's a viscerality there.

So.

Yeah, yeah, yeah, that's.

I mean, when I.

When I first heard of this story, we were following, you know, journalists on.

On social media, and, you know, they're talking about this story.

You're hearing the recording, like, that's already, like, hitting you.

You're.

You're.

You're watching this.

This.

This genocide unfolds, right?

And then you hear that story.

That's a lot.

And then.

And then I think I remember watching the encampments and they played that clip again.

And I just remember everyone around me, like, there was not a dry eye, like, everyone around, because it just.

It hits you so much.

So then to also, like, sit there and whether.

Regardless of whether you've, like, heard the story before, it again, it hits you again.

And so you can't help but, like, sit there and process the feelings, right?

Like, again and again and again, it's just like, no, this is something that actually, this really happened.

And you.

It's.

It's a lot.

So, I mean, that makes total sense as to why folks could.

And there's.

There's only so many Movies.

Right.

That, that can do that.

And of course it doesn't surprise me that that's one of them.

So.

Yeah, yeah, so moving, moving into.

And I know the other.

So you've got some, some, of course, other films and programs coming up.

You know, you've got the shorts at the Visual Studies workshop.

Tell us a little bit about those.

And when that'.

Yeah, that's really exciting.

So that's, that's November 20th at 7:00pm and it's, it's our first collaboration with VSW which we're very excited about.

We get to be in their new space.

And yeah, it's, it's three shorts again, more curated properly for vsw.

So more on the experimental end.

One of them, the Flowers Stand Silently Witnessing is a.

It's an archival sort of intervention.

And, and it was home, Home, home film footage of some rich guy who traveled to Palestine, a British man, a Scottish man.

And he traveled to Palestine mostly to film the flowers and, you know, the sites of the Holy Land.

But it's because he used color so he could document all these different flowers.

And so it's largely footage of flowers.

But the filmmaker was sort of struck by.

There's no Palestinians in this.

Like, when you see it, there's, you know, you see kibbutz and you see, you see flowers and you see British tourists that are here enjoying the sights.

But Palestine is even erased in home footage because what was worth documenting to this Scottish man, you know, and so this is a. Yeah, a Scottish Palestinian man made this film and he, and he took all this footage, he found it in the archive and he just sort of re edited it and would like find a Palestinian like shopkeeper in the background and just slowly focus in on them and sort of like pull them out of like the margins of this film.

And then.

Yeah, so it's this intervention of this old footage that is really worthwhile in its own right just because of its historic historical properties.

But, but then he brings in this sort of like intervention, artistic intervention, curatorial intervention, which is really interesting and I feel like perfect for visual studies workshop.

The exact type of thing that belongs there.

And then we've got, we've got two other shorts there.

One of them, I literally.

The title is slipping my mind right now.

Morgenkreis, or Morning Morning Circle, which is like when kindergartners sit in a circle in the morning.

That's a, that's a German one.

And then the, the other one I'm trying to remember the title of.

I'm actually just looking it up on my phone right now.

A Night we Held between by Nour Abed, which I actually haven' seen yet, which is why I've forgotten the title.

Okay.

Because I haven't had a chance to see it.

So I'm really looking forward to seeing it that night.

But other committee members swear it's amazing.

So we'll have to, yeah, we'll have to have y' all back to.

Yeah.

Get into more, more of that.

You know what, you know, the after words, the after, I guess, reactions, you know, to the films and everything.

Okay.

And then after that.

So on the 21st at 6pm is all that's left of you.

All that's left of you is Shirin Dabis new film.

But she's somewhat famous actress.

If you Google Shirindabis, you probably recognize her face.

She's been on a lot of American, American media, American TV series, but she's directing this, it's this big sort of sweeping family epic where a young, a teenage boy getting in trouble with the IDF because he's protesting Israel.

And, and from that we can sort of like go back through the family lineage and we kind of go through multiple generations of this family and see how, you know, a Palestinian family, much of what happens is beyond their control and has been sort of passed down through the generations from one person to the next to the next.

So it's almost like I hesitate to make those types of big comparisons, but like 100 Years of Solitude type sort of situation where you have these sweeping family histories.

Wow.

Yeah.

Oh man.

Incredible.

And then also too, if you want to talk also too about just like the motivation in picking these, especially all that's left of you.

I've been hearing lots of talk about this one, this one in Palestine 36, which we'll get into later, especially when it comes to of course, because we had no other land.

And we've also had other films that were at least Nominated, but like thinking ahead towards.

We're already kind of in award season, but like heading further into awards season.

There have been like, there's been some buzz about these.

It's.

It's been a little.

But like it's three of them.

Yeah, three of them.

Yeah, yeah.

It's the voice of Hem Rajab.

Right.

All that's left of you in Palestine 36.

Exactly.

Three major narrative films which historically Palestine film has.

And documentaries is an amazing format.

And the Palestinian documentaries have been so amazing.

But historically there's been this sort of like perception that Palestinian film is really only worthwhile as documentary, almost as, only as journalism.

Right.

As opposed to artistic expression.

And so we actually, this year, the thing that's really unique is we have so much narrative.

And the other thing is that we have these, these three films in particular, these major narrative films all directed by women that are all deciding, you know, deciding to tell their stories through narrative instead of through documentary.

And so there's something really interesting about that.

Yeah, I'm jumping ahead a little bit, but Ann Marie jasir, who did Palestine 36, another historical epic.

And the other, the other thing that came through curatorially as we were going through all these is this realization that so many of these films are dealing with the moment by going backwards.

So many of them going back to the past.

And so all that's left of you does at Palestine 36 does it with Hasan and Gaza.

Does it?

The flowers stand silently witnessing.

So many of these films are going backwards as a way of meeting the moment right now.

Yes.

And that's really fascinating.

But yeah, all that's left of you is one of them, Annemarie Jasser.

The other thing I wanted to say about Palestin 36 with Annemarie Jasser is she was as far as my knowledge, the first woman to direct a Palestinian feature length narrative film.

And so.

And she was also in the very first Witness Palestine Film Festival, the first, the first program that was ever put together here in Rochester.

Her first film, which was the first narrative feature film directed by a woman, was the Salt of the Sea.

And so now closing this one out with Palestine 36, there feels like some like looking back in our festival even in order to meet this moment and look at where we're at.

So that's really interesting for us, at least curatorially, to see all of that come together.

And so, yeah, three of also these three narrative films directed by women are all Oscar potential nominees.

They've all been submitted.

So the voice of Henry Job was Tunisia's submission for the Oscars.

All that's left of you is Jordan's.

And then Palestine 36 is Palestine submission.

So who knows what the Oscars will select?

You know, they're a very fickle organization.

I mean, I also feel like.

Because.

And I think because the.

Was it the voice of Hindra job?

That's the one with a lot of executive producers who.

Yes.

Brad Pitt and Mark.

Yeah.

Jonathan Glazer, who won for Zone of Interest.

That's right.

Right.

Yeah, exactly.

So they might.

Because it's, you know, I'm like, just.

Can they just go on their own, like merit.

But that's a.

That's a whole other conversation for all other day.

But, yeah, I feel like, because of, like, the way that the Oscars have been.

Because these names are attached to it, I don't.

I don't see them not doing it.

But at the same time, I would also.

I mean, I would like to see all of these films, like, nominated.

Right.

You don't want them to just because someone's name is attached.

No, it's like, no.

Like, these are important stories that need to be told.

And oftentimes what we see, especially with, like, these films, if you didn't.

If you didn't see it the first time and then it gets nominated for an Oscar, there will be movie theaters that bring them back so they, you know, so the masses can watch it.

So I feel like you have this really, like, grand opportunity.

Even though Palestinians have been telling their stories, you know, since.

Since the, like, since Palestine, like, you know, since the beginning of history.

Like, they.

I, I still think, you know, largely.

And we're.

We're seeing this more and more where folks are learning more about Palestine, what's going on, but also, though, about the history, especially, like, not only the history of the occupation, but even before.

Um, and so, yeah, like, there's this, this, this.

This opportunity to again, put it in front of people who may not have.

May not know who, you know, know a little bit, but don't really know so much of the ins and outs and stuff.

So.

Yeah, yeah.

And that's a big thing that, like, I think this festival, what I, What I get excited with is there's this.

There's this duality to the festival.

Right.

Where you can come to learn.

Right.

And we.

We had another documentary yesterday, who Killed Shirin And.

Right.

So we have, we have a lot of learning opportunity for people who are trying to expand and I think the narrative films.

I think Palestine 36 is a really great learning Opportunity to recognize, you know, people.

One of the.

The refrains has been, you know, it didn't start on October 7th.

Right.

But Palestine 36, it started way before that.

Right.

So I think there's a lot of learning that can even be done in those narrative films.

But the other thing that I think key is, is it's also a celebration of Palestinian art and artists.

And.

And one of the things that we've really been trying to do is, you know, program films that we just think are great films.

And so, you know, I know this is already passed.

It's not really a push for the.

For the upcoming weeks, but we played Once Upon a Time in Gaza by Tarzan and Arab Nasser, which they won the best director award in the Uncertain Regard at Cannes this year.

And that one, there was, like, some interesting discussion because if you go on letterboxd and you read the reviews, like, the main reviews for this were like, this movie sucks.

It doesn't even gauge like.

Like, if you think about what's happening in Gaza, like, they deserve a much better movie than this.

And.

And they didn't mean better as in quality of the filmmaking, really.

They meant it didn't engage in a politically didactic way with the moment.

It told, you know, like the director said in the Q and A that we had afterwards, it's.

It's a spaghetti Western or a spaghetti Gazawi.

Right.

And.

And the idea is it's just a great film.

It's got this sort of absurdist lens to it.

And what I really liked about that screening is we had a lot of the.

Rochester is a great city for film viewing, and there's just a lot of film people here.

Oh, yes.

And several of them came to the screening like, that movie was awesome.

And there was sort of this sometimes a disconnect where, you know, there's people that want the film to be activism, and then there's other people that maybe aren't particularly interested in activist film, but they're just interested in a good movie.

And films can definitely be both.

But.

But they come into this one, and those people were just sort of like, oh, this is a really interesting story told in a very strange way.

And I. I think that our festival kind of is currently.

I'm really happy with the programming, is.

It's managing to hit both of these.

And, you know, you get stuff that's just great filmmakers at the top of their game doing something that's completely distinct in Palestinian cinema, but in.

In cinema generally.

Yeah.

And then and then we get also just great investigative journal, educational documentary, and also great experimental documentary that uses documentary form to push the boundaries of what film is and what investigation of Palestinian history is.

And so all of that I just.

The diversity of programming is what's really exciting because you go a Palestine film festival, like, it seems like such a narrow, like focus, but it really isn't.

There's so many things here.

We got a 23 hour long film that's going to be playing at Roko.

Yeah, yeah, I heard about that.

Yeah, yeah, Shout out to Blue.

Yeah, it's amazing.

So, yeah, just like anything that you can think of.

You know, we've got comedies, we've got, I guess spaghetti westerns or spaghetti Gazawi.

Like there's a little bit of everything here.

Why not?

And that's, that's what it should be.

Right?

Like if you're gonna.

Of course you're, we're.

The center is Palestine and Palestinians.

But of course you want it to have, you want to have like a vast, like, you know, we don't want to have varieties, the probably the word.

I'm looking for a variety of like, different genres or things like you said, that are pushing the boundaries of like what film is.

That's like everyone should have like a right to tell the stories and ways they want to be told.

And it doesn't necessarily have to point to, like you were saying before, activism, like, yes, there's going to be an audience for that, you know, but at the same time you should also have the freedom to be able to just tell the story.

Like I said, however you want it told, you know.

Yeah.

So when I taught in Palestine, I had, I taught a lot of film classes and two young students who wanted to make films.

And some of my students always joked as they said that, you know, Palestinians are only allowed to make two films.

One is, you know, how we suffer under the occupation and the other is the patriarchy in, in Palestine.

And those are both amazing subjects, but that, you know, the confinement of subject matter.

And so we get really excited to celebrate when filmmakers decide to make something slightly outside of those bounds, because those both frequently always are in the narrative of the films themselves.

So just because that's not your overt text doesn't mean it's not always there subtextually.

Right?

Absolutely.

Okay, so I know you had talked a little bit about.

I mean, we've kind of been like skipping all over.

That's because again, the programming.

Okay, Jackie, words.

The programming is exciting.

Do you want to go into.

So.

Because you had started to mention with, let's see, Palestine 36 and with Hasan in Gaza.

But also, thank you for banking with us.

Yeah, yeah.

Okay, so let's once again, a narrative film directed by a woman, Leila Abbas.

And this.

I'm really excited about this movie because it's just, it's.

It.

It's a family dramedy and it's.

It's one of these films that it.

Another one that doesn't deal overtly directly with the occupation, though it's there in every frame.

You can't make a film in Ramallah that's honest, that's good, without being honest about that in some way.

So there's this.

It's this wonderful sort of family dramedy, kind of about dealing with inheritance law under Sharia and things like this.

And, and.

But it's very funny.

It's very sweet.

And that leads us into the dinner afterwards, the same night.

So it's a slightly lighter film.

It's not Voice of Hindra Job.

It's not gonna leave you crushed afterwards, which we feel like is a good vibe.

To move on to the Mama's Palestinian Dinner is how we've been crediting it.

Aslem is cooking a meal, and because I'm part of this committee, I've had the opportunity to eat her food more than just at this dinner.

And she's an amazing cook.

And she.

It's the joke we always in in the west bank too, is, you know, if you want really amazing Palestinian food, you have to go to somebody's mom's house.

Like, that's.

That's where the food is.

Like.

And so.

And so what we love is we get to bring, you know, we get to bring you metaphorically into somebody's mom's house.

And she's gonna cook and her.

She's an amazing cook.

And it feels very, you know, the food itself is very welcoming.

And so it's a great experience, especially for people that haven't had Palestinian food to go from the film.

Have the dinner.

Highly recommend it.

It sells very well.

So listen, if there's tickets available, get them now.

Yes.

For real.

Listen, if you haven't had Palestinian cooking, what are you doing?

All right, you gotta come by.

So that's the.

The 22nd.

So November 22nd.

So following the film at 5:30.

Thank you for baking with us.

And then the dinner is at what time?

7:30.

7:30.

Okay, cool.

All right, so we only have a few more minutes, and then like I said before, we're gonna have to have you you back and a bunch of other folks back for, you know, the reaction to, you know, these films, especially with Hasan in Gaza and Palestine 36.

Yeah, the last Day.

I'll just quick hit those because the Last Day, once again, it's.

It's a day of looking backward to meet the moment.

Now, Palestine 36, I think, speaks for itself.

It's a great historical epic.

I don't think there's been a lot of those in Palestinian cinema.

So it is really unique.

And it's Ann Marie Jasir, who's sort of just this iconic towering figure of Palestinian cinema.

And then with Hassan in Gaza is.

I don't want to say it's experimental, but it's a slightly.

It's a Fly on the wall documentary.

And so it's essentially largely uncut, raw footage of just a guy wandering around Gaza looking for a guy.

But it's really.

It's a.

It's sort of meditative, and it's this ability to just hang out in Gaza.

So coming up and saying, hey, take my picture.

And so it's just.

And it very is not this now.

How many of these kids are alive today?

You know, so there's this, but we get to engage with that.

It doesn't.

It doesn't push anything on you.

It just sort of lets you sit in Gaza for an hour and a half on a relatively calm day.

And there's something kind of poetic and beautiful about it.

Oh, well, Cole, I'm looking forward to all of this.

Real quick, where can folks grab their tickets?

WPFF us.

All the tickets are available there.

I can't predict anything, but, yeah, if you.

If.

If you're hearing this and the days haven't hit yet, probably better to pre buy them.

You can always buy at the door if we have tickets.

But, yeah, it's better to get them online for real.

All right, y', all.

Y' all heard.

Okay, so y' all know what to do next.

Go get your tickets at WPFF us.

The schedule is There.

Come for dinner again.

Cole, thank you so very much for being on our podcast today to talk about all things Witness.

Pal.

I know that, like, this film festival, ever since I started going like a couple years ago, like, I've made it a point to come, like, every time.

Even, you know, even, you know, not during the festival, but I think throughout the year when Witness Palestine is putting on, like, other screenings and everything like that, I always make a point to come because there's always just, again, I'm a filmmaker.

I love folks telling stories, I love hearing stories.

And then just not only just learning, but also just again, like seeing someone else's culture, seeing someone else's stories, traditions, all these things.

It's always like a.

A beautiful thing.

And then also too to watch with folks who also love film.

And I'm very much about a free Palestine.

It's.

It's always great.

So thank you so much for being on the podcast.

Thank you so much.

Awesome.

And of course, we'll have more information about Cole and the festival in our show notes for all of our listeners and viewers.

Speaking of which, thank you all so very much for your support of our Voices project and the Representation in Cinema podcast.

Like I said before, if you are on YouTube, make sure you all go hit that subscribe button.

I don't know what y' all are doing.

Hit the subscribe button, make a comment, share it wherever you can.

Also too, if you are listening on any of the podcast platforms that we are on, feel free to please, you know, rate us.

You can comment, we will respond to the comments.

We appreciate all of your support.

Like I said before, we are on all the social media platforms with the exception of Twitter.

I think we may still have an account there.

I can't remember.

But follow us on all of the things, Facebook, Instagram, TikTok threads.

You can also visit our website@ourvoicesproject.com to sign up for our newsletter to find out more information about the films that we make.

And we will be back with more episodes every Thursday.

Thank you again for listening.

And that's it.

That's all.

That's all I got.

This has been a presentation of the.

Lunchadore Podcast network, Jeremy's iron.