In the two and a half years that followed, Alexandrowicz looked for a path through the chaotic footage, he developed a passion both for working in nonfiction and for trying to find innovative modes of expression in the documentary form.
The documentary fell through, but the stories he had heard during his research stayed with him and he began to think about creating a movie that would speak to Israelis about the Palestinian experience and would tell of different perspectives on the Oslo "peace process".
A cannily droll mix of social commentary and modern fable follows the adventures James, a devout wide-eyed young man from the imaginary village of Inchongua attempting a pilgrimage to the Holy Land.
Jailed by the immigration authorities upon his arrival in Tel Aviv, this contemporary Candide is miraculously bailed out by a shady small-time businessman only to become part of his migrant labor pool.
Alexandrowicz filters an astute exploration of the economic, moral and spiritual hypocrisies of Western society through an evocative portrait of modern Israel's cultural and generational divisions.
As political activist Alexandrowicz encountered something that had been invisible to him up until then: the existence of a parallel legal system that applies only to Palestinians living under Israeli military occupation since 1967.
In his work The Law in These Parts, Alexandrowicz set out to explore the question ‘How can a modern democracy impose a prolonged military occupation on another people while retaining its core democratic values?’.
[citation needed] The Viewing Booth recounts a unique encounter between a filmmaker and a viewer — exploring the way meaning is attributed to non-fiction images in today's day and age.
In a lab-like location, Maia Levy, a young Jewish American woman, watches videos portraying life in the occupied West Bank, while verbalizing her thoughts and feelings in real time.