This film tells the story of a local Sebastia girl's memories of being illegally arrested by Israel to tell the story of a city devastated by violence. This leads to the question of whether a city is in some way eradicated when it is filled with memories of violence. In Sebastia's case it is Israel's destruction of local memories of their homeland through violent destruction and its attempt to undermine their sense of identity. The two historical sites that appear in the film are Love Street, which carries the wishes of the local people for a better life, and the Roman Theatre, which is a venue for events with a historical dimension. When the girl is making memories, the girl is not only a witness to violence, but these historical buildings are also a witness to Israeli apartheid.

For me, I am at a distance from Sebastia and the girl's story. But I, as an individual, had an exchange with them across the distance as I studied the Sebastia. As I interacted more with them, the more I could feel their emotions and all. In reality, we are denied entry to Sebastia by Israel because we support Palestine, so in the film, l used the green cloth as a medium to put me there and to express my emotions in each space through my emotional feelings. It is a kind of empathetic emotional catharsis. The film is an emotional expression and a call to action. I think that urban design is a driving force, and in this context film is a means of breaking the distance, and I hope that the audience will see this film to be aware of Sebastia and to help them. We are not bystanders in the face of violence, we can help as a force to change the present and shape of a city and even its future.

XIAYU ZHANG (CASPAR)

Sebastia, She, I

Film, Narrative, Dance