both of them joined me recently from paris to discuss why bassel, adra and yuval abraham. welcome to the program. >> thank you. thank you. >> bassel when did you start filming your family and your villages experience? >> i grew up in a community where activism and people would like to oppose the occupation, and confront the conditions that the occupation is trying to, to put us under it. so, for example, the story of my mother with the school and how they built the school, my parents are not educated. they didn't have the chance to go to school because it was forbidden. but my mother and the community fight to build a school where i had the chance to be educated in it and i learned english and i could speak to you today in english and also i learned the camera. that's very important. and almost the only tool we have besides our steadfastness and our land in front of the brutality and the occupation machine that try to uproot us from our homes. >> and yuval, one of the things that makes this so compelling is that we get to see ordinary villagers and their emotions, the men,

two men in that collective, yuval abraham, an israeli journalist, and basel adra, a palestinian lawyerin the documentary. basel adra told me what was in the film. real scenes from our daily life under occupation, like the houses�* destructions by israeli bulldozers, and people's stories, like, when their home got demolished, how they. . . how they handle it and people lose their life, also, for trying to have some of their life requirements. there is little political rhetoric in this film. it's a story of individual villagers�* suffering, but it is not politically neutral. in the documentary, the israeli military comes across as a brutal, heartless occupying force. that was the aim of the israeli palestinian film collective that put the documentary together. we are a collective, so it's three israelis and two palestinians and we filmed it over five years together. so we really... you know, we really captured this process of forced transfer. and we also filmed ourselves. so the story, like... the story, is also about our own activism and our own sort of, er, core resistance and work. th