A Fidai Film showcases the style of Palestinian visual artist Kamal Aljafari, who explores the political possibilities of archival documentary. In the summer of 1982, Israeli forces invaded Beirut and looted the archives of the Palestine Research Center. These archives contained numerous documents about Palestine, including a large collection of photographs and films. The images were subsequently renamed and reindexed according to the vision of their new custodian, the Israeli Ministry of Defense. To confront these acts of looting and appropriation, Aljafaro advocates for an alternative narrative. Blending documentary and experimental cinema techniques, A Fidai Film raises awareness of identity, memory, and the possibility of resistance. Inspired by poetic montage, Aljafari's work offers a fresh perspective on images typically seen only in film or television, emphasizing the archive's status and mode of existence as a political tool. By deleting, adding, and overlaying the words of the occupier, Aljafari exposes the ideology of empire and the act of appropriation. Red graffiti erases parts of the video, while figures are cut out or replaced with other material. Aljafari calls this counter-archive "the camera of the dispossessed," showcasing the subversive struggle of resistance through the modification, reassembling, and editing of overlapping texts, sounds, and images. This innovative work reveals the truth of the here and now, alluding to the invisible presence of occupying forces that seek to erase people from history and memory.