Rosalind Nashashibi’s Hreash House (2004) is centered on the collective existence of an extended family. Set in a concrete block in Nazareth during the month of Ramadan, the film is structured around the preparation of a feast and its subtle aftermath. Within this confined space, the family becomes a signifier for an entire community, reflecting how we live with each other and with seemingly inanimate objects. Close-ups of various fabrics and furniture are choreographed with everyday gestures exploring the passage of time. These are engulfed with fragmented conversations and assorted sounds, such as that of a man snoring under layers of patterned sheets, commentary on a football game, a few seconds of heavy techno music, and the repetitive laughter of children.