This presentation closely analyzes scenes about police brutality and the Mizrahi male body in Mizrahi documentaries, in particular David Benchetrit’s documentary, Eastern Wind: A Moroccan Chronicle (2002). David Benchetrit was born in Morocco in 1954 and died in October 2017 in Israel. In a eulogy published on the day of his passing, Benchetrit’s partner, filmmaker Sini Bar-David linked his death to his prolonged physical and mental devastation after undergoing an experience of crushing police brutality 13 years earlier. Yet already prior to that experience, Benchetrit’s groundbreaking documentaries about Mizrahim in Israel featured various accounts on police and military brutality in Israel. Eastern Wind excavated Moroccan Jewish life in Israel through oppression and violence. Benchetrit focused on the lives of 6 prominent Moroccan political leaders, amongst them Reuven Abergil of the Mizrahi Black Panthers, who narrated and demonstrated his severe experiences of police brutality. Benchetrit juxtaposed archival footage of the police suppressing protests of Mizrahim as shown on the state-owned Israeli television with the activists’ accounts and reenactments of the harsh battering inflicted on them upon the lingering repercussions archived under their skins. The scenes tackling police brutality in contemporary Mizrahi documentaries such as Eastern Wind expose the gaps between the hegemonic representation of Mizrahim on national television as innately violent versus their generally invisibilized shattering experiences of the violence that was applied on them. Eastern Wind thus excavates the un/making of the Mizrahi male body through violent practices that are otherwise mis/unrepresented, and Mizrahim’s survival of and resistance to it through their filmed performances. I read these scenes against the backdrop of the Zionist scripts that have imagined Mizrahi masculinity as primitive and exploitable on one hand, and menacingly aggressive on the other. The documentary performances of the Mizrahi political leaders mediated by the sensitive eye of Benchetrit in Eastern Wind complicate our understanding of the workings of both police brutality and, more broadly, the Zionist racialization and gendering of Mizrahim. The performances both foreground and refute Israeli television’s portrayals of the protests as bursts of primitive aggression. Unwilling to accept their fate as disposable matter, the Mizrahi leaders show up in protests, and in front of filming cameras, to resist the violent representational and actualized objectification and recrafting of Mizrahim by television, the police, and Zionism and Israel as a whole.