Ward Kayyal

After his recovery, middle-aged Hamza has continued a practice he began 20 years ago when he was freed from an Israeli prison: he goes into the woods every day to chase the lion that the locals don’t think exists. Hamza struggles to reach a peaceful place. Despite his wife’s pleadings and the villagers’ contempt, Hamza sits his baits and traps in the forest, hoping to defeat the mysterious threat. He finds refuge in his journey from social rejection and denial. In the woods, Hamza is free to act according to his beliefs, fighting his own battle to heal an open wound – the trauma of losing his childhood friend, and the horrific memories of torture and guilt.

A fisherman from Gaza is trapped in his haunting memories. After losing his only child, he suffers from post-traumatic stress disorder that leads him on a psychological journey, reliving his tragedy in a different reality.

We are taken behind the scenes of a play in-the-making: The play is Samuel Beckett’s WAITING FOR GODOT—starring a group of young 48-Palestinians. One by one, we are introduced to a variety of characters: the play’s director, actors, and other ordinary people. As we delve further into each of their lives, the film reveals the startling parallels between the themes of the play and their own. Everyone is waiting for something: a permit to build a house, better work conditions, a starring role in a film. Much like Waiting for Godot, our heroes are awaiting Faraj Allah… something that may or may not come.

On a stormy night in Haifa, a man struggles to light his cigarette in the pouring rain – until an unexpected encounter changes everything.