Contemporary film / video representations of the Palestinian landscape depict a place of current or imminent interruption, containment, danger, and violence. Central to this depiction are the bodies that look onto it, circulate around it, attempt to circumvent it, and police it. While they move, cohabit, persist, comply, and defy the conditions that mark the landscape as interrupted, their actions and gaze retain a memory of what it means to be connected to a land imagined as a place of origins and a place of plenitude for select groups. In this configuration, largely dependent on the role of the imaginary, there is no place without the human and yet there is increasingly no place for them if they are Palestinian. As both an artistic and documentary medium, film, like landscape art, always assumes a point of view, and has been uniquely efficient at giving visibility to the Palestinian subject, asserting as the early documentarians of the Palestine Film Unit and as Nadia Yaqub recently reminds us, that the act of self-representation is itself revolutionary and agential. Visibility of the Palestinian subject always suggests issues of dispossession, the struggle for rights, and the connection to the land, which cinema has the ability to fully convey whether capturing the trials of Palestinians to endure on the land and in their dwelling spaces, in 1948 historic Palestine, the West Bank and Gaza, or in the refugee camps and the wider diaspora. This paper will examine these issues as they are dealt with in certain films that cross the borders between documentary and fiction, including Khaled Jarrar’s Infiltrators, Kamal Aljafari’s Port of Memory, The Roof and Recollection, and Basma Alsharif’s Home Movies Gaza and Deep Sleep. In these and other films participating in Palestinian cinema, landscape becomes more than the visual representation of the land. It is also the internalized vision, memory, and dwelling place of home, even if that internalization is fragmented and always in process of becoming.