“I Do This All For Palestine”: The Director of Encampments Discusses the Pro-Israel Bias in Mainstream Media and the Corporatization of Educational Institutions.

      A crucial document capturing a pivotal moment in an ongoing narrative, *The Encampments* offers a detailed and captivating depiction of the Gaza Solidarity Encampment. Launched in April 2024 by Columbia University students, the protest aimed to urge the university to divest from U.S. and Israeli weapons manufacturers that contribute to the deaths of countless Palestinian individuals. After an opening weekend that marked the highest per-theater earnings for a documentary in history, Michael T. Workman and Kei Pritsker’s film is currently screening in theaters across the country.

      As I mentioned in my review, “Featuring perspectives from those deeply involved in the protests—including many who now fear for their safety as a newly established fascist regime in America infringes on rights—the documentary presents a sobering and enraging view of the erosion of free speech and the extreme measures those in power will take to silence dissenting voices. Instead of adopting a grim perspective on ongoing struggles, directors Michael T. Workman and Kei Pritsker uncover the hope and inspiration in the evolving narrative, creating a compelling and clarifying portrayal of collective action. As various universities and organizations were inspired, we see how even small acts of bravery can create worldwide ripple effects.”

      I had the opportunity to converse with Pritsker about the trust he gained to film within the encampment, the significance of showcasing a perspective often overlooked by mainstream media, encouraging individuals with opposing views to watch the film and form their own opinions, the corporatization of universities, expediting the theatrical release, and his lifelong commitment to the Palestinian cause.

      Read or listen to the interview on The Film Stage Presents podcast.

      **The Film Stage:** You were among the few journalists trusted by the organizer to capture footage inside the encampment. What was that experience like, and how challenging was the editing process given the abundance of footage you had?

      **Kei Pritsker:** Yes, our access was much greater than that of many others. I believe the primary reason for this is twofold: first, I had been covering the Columbia Palestine protests for some time. My first protest was in November 2023, during an alumni demonstration against the banning of SJP [Students for Justice in Palestine] and JVP [Jewish Voice for Peace], which is depicted at the beginning of the film. I maintained contact with the students, and they were familiar with my work. Additionally, they knew my reporting is openly pro-Palestine. I have been part of the Palestine movement for ten years.

      Many journalists adopt a stance that separates their journalism from activism or draw a divide between the two. However, at BreakThrough News, where I work, we embrace the idea that all storytelling carries a perspective. Regardless of one’s role or the media outlet they represent, there is always a narrative or perspective being conveyed. We choose to be transparent about our stance. Furthermore, we believe much of the media coverage in the U.S. is biased, predominantly reflecting Israel’s viewpoint while neglecting Palestine’s narrative. By conveying a pro-Palestine message, we aim to level the playing field. Regarding the editing process, there was an extensive amount of footage, and I’d prefer not to elaborate too much on that since my co-director, Michael T. Workman, was the primary editor and performed an exceptional job.

      Although you discuss the historical context of the Palestinian struggle, the film predominantly immerses the audience in the real-time experience of collective action. Was it always your intention to focus more on the students' direct experiences rather than heavily weighing the specifics of the Gaza struggle?

      Yes, absolutely. We strongly believed it was vital to allow the students to tell their stories in their own words and to depict what the encampment was truly like instead of merely explaining it. Our objective was to present the experience through the footage. This approach was crucial for us because, during my time there, living inside the encampment, I often saw media pundits labeling Columbia as a “den of anti-Semitism” and claiming that Jewish individuals would be attacked or insulted if they showed up. Meanwhile, I would witness events like a Passover Seder happening right in front of me, leading me to think, “This is absurd.”

      Rather than trying to convince people that it wasn’t anti-Semitic or that Jewish individuals were welcome, we opted to illustrate that through our interviews, demonstrating who the students were and what they were doing to support the encampment. It was essential for us that the film’s narrative emerged from the encampments themselves rather than from an external perspective.

      There’s a moment in the film where the organizers express a goal of internationalism and the pursuit of peace and healing. What would you say to those who might oppose the protesters to encourage them to watch your film?

      We stand firmly behind everything presented in the film. To anyone who disagrees or perceives the students as violent or bigoted, we invite you to