A Forensics of Home: Reading The Spaces and Objects of Contemporary Palestinian Cinema The past decade has seen an increasingly wide range of what can broadly be categorized as Palestinian experimental films. These films eschew the familiar fictional narrative and documentary structures and instead are structured as film essays, video loops, or installations. One strand of this work has focused intensively on an intimate and rigorous representation of spaces and objects, and the relationship between characters and the spaces they occupy. Within the charged context of Israel/Palestine such texts are particularly challenging for students and activist arguments who look to creative texts to confirm a particular narrative of the Israeli Palestinian conflict or to bolster a preconceived notion of Palestinian lived experience. In this paper I propose to read a selection of these texts (films and photography by Elia Suleiman, Kamal Aljafari, and Mais Darwazeh) through the theoretical lenses of thing theory and forensic architecture as a means of rendering the non-narrative aspects of their works (and in particular what appears to be an obsessive focus on seemingly mundane objects and apolitical spaces) comprehensible to students. Thing theory provides tools for broadening a geographical approach to understanding the relationship of people to the spaces they inhabit to include their interaction with specific objects in those spaces. Individuals are shaped not only by the configurations of their homes, neighborhoods and institutions, but also by their regular interaction with the things that populate them. Conceived as a method for uncovering evidence of violence in the built environment at a macro level within the context of documenting human rights abuses, forensic architecture, forensic architecture lays bare the communicative context and rhetorical devices for interpreting objects, spaces, and images. The works of these filmmakers, I argue can be interpreted as a forensics of intimate spaces, uncovering not the traces of violence on a landscape but rather the traces of intimate human encounters within rooms.