LOST FUTURES, Duration: 20:30 mins/ Single-screen, 16:9, HD, Digital video, 2015 (film clip).

Lost Futures explores the relationship between the murder of a young football fan, Mohamed Qattri in Ramallah by Israeli Defence Forces (IDF) during the 2014 military operation, Protective Shield, into Gaza. The film frames documentary material of the incident in Ramallah against the extension of the conflict into social media space. The film consists of a series of interviews made in the Al-Alamri Refugee camp and Internet footage uploaded by the IDF. Israel announced the attack on twitter under the hashtag #Operation Protective Edge and uses social media platforms as part of propaganda tactics to normalise violence. In addition IDF soldiers carry high-grade smartphones to send personal materials from the battlefield. The film parallels how this new military vision mediates war to have tragic consequences on the ground and outside of the Gaza conflict zone.
Lost Futures employs a surface tension between apparent subjective and objective understanding of what is represented.

The film project was made during a residency at the A.M. Qattan institute in Ramallah Palestine.

Lost Futures is one of three interlinked films look at contemporary football as part of a global culture. Despite the mass appeal of the game through media networks, football culture remains one of grassroots communities with individual identities. However, the places where the films were made highlight local conflicts with external forces that positions football in a political context. The films were made were made in quick succession from 2012 to 2015 in three locations where political situations draw in local football fans into the conflict.
The structure and approach to the events in the film are relayed through an assemblage of various visual media formats. This aesthetic overlays text panels to provide limited context to the visual materials and position the viewer to consider beyond the frame. No voiceover is used in order to resist directing the viewer as film images operate on an instinctive, visceral level. The meta-documentary format calls into question the mediation of events as the viewer is invited to consider their subjective role in artifice of objectivity.

three film edit: More Out Of Curiosity, Serious Games and Lost Futures