L’Omerta, scandale de la pêche industrielle

A filmmaker inside Gaza. Another locked out, trying to reach him and failing. What begins as an attempt to make a film across distance turns into something much more immediate—an unfolding record of life under constant attack, captured from within. Through Suhail’s camera, we follow children who are still studying, playing, joking, and holding on to some sense of normalcy as drones circle overhead and evacuation orders fall from the sky. The film moves between these lived moments and the fragile process of making the film itself, building a structure that is constantly in motion. What makes it land is not just the urgency of the subject, but how it is told. The film is immersive, heavily verité, and driven by strong editing that keeps you inside its world. It does not rely on narration or emotional pressure—it lets the experience build on its own. By the time it reaches its final moments, you are no longer watching from the outside. You have been inside it the whole time.