Because of the centrality of land and natural resources to the Israeli-Palestinian conflict, films about life in the region cannot help but reflect the ways in which the environment has been weaponized in support of Zionist colonialism and the ways in which Palestinians have resisted and countered that weaponization. Elias Suleiman’s films, Chronicle of a Disappearance, Divine Intervention, and The Time that Remains, depict the complex intersection between occupation and environmental justice in which Palestinians reside. Suleiman’s films work to visually represent the spatial restrictions of the Israeli occupation as well as reveal the damage this prolonged and brutal occupation does to the population at large through cinematic techniques and dark humor. Underlying these issues, however, is the fundamental relationship between Palestinians and the land and the frequent attempts of the Zionists and Israeli government to undermine that relationship and deny Palestinians the rights of ecological determination. With Suleiman’s blunt and often darkly ironic approach, the films also reveal gaps in the environmental rhetoric that is used to legitimize the Israeli presence in the region and highlight the environmental failings of the Israeli government. The Palestinian people were forced from their land in 1948 (nakba) and again in 1967 (naksa) by Zionist and Israeli forces who promptly built over or planted over Palestinian villages, essentially weaponizing the environment to meet their colonial ends. The Jewish National Fund, in particular, has been responsible for physically altering the shape of the region’s landscape by planting large forest of non-indigenous trees. The sudden growth of the Israeli population and the shortsighted nature of their development projects has resulted in the contamination and mismanagement of fresh water supplies in the water-scarce region, but the Palestinians are the ones who suffer the brunt of this mismanagement, not the Israeli population. The Palestinians are quite literally fenced off in the West Bank and denied control not only of themselves and their movements, but also over their natural resources and environment, particularly water and agricultural lands. Suleiman’s films encapsulate and give visual representation to fact that the Israeli-Palestinian conflict is a prime example of where the violence toward and oppression of a people coincides with and results in violence toward and oppression of the environment.