This paper will explore the translatability of resistence in the language, themes, and aesthetics in Palestinian films of the last decade. I call these the films of the “Palestinian New Wave” to identify a discrete group of works that have emerged since the Second Intifada in tandem with a digital filmmaking revolution. They are defined by resistence, a self-conscious rejection of occupation, acknowledgement of neocolonialism, a national aspiration, and narratives set in the present day. My paper will propose that due to the absence of a Palestinian national film industry and funding bodies, films of the New Wave are largely European funded and thus typically have narratives edited for European festival-going audiences. This raises the question: how does resistance in films of the Palestinian New Wave, translate to largely European audiences? The theoretical framework of this paper is grounded in Emile Durkheim’s theory of “social facts” which provides a way to understand the problematic nature of the English and French subtitles of these films. For example, if the Arabic language and the Palestinian dialect are social facts key to understanding the collective consciousness of Palestinian resistance, resistance must be understood within this language of the collective. But as these films are translated into European languages, rather than dismiss films of the New Wave as “untranslateable” or as “less authentic”, I will explore how they use aesthetics to engage the four 'social facts' that are characteristic to films of the New Wave: (1) key historical events; (2) the resistance; (3) trauma; and (4) statelessness/longing for the return to Palestine. The paper will argue the aesthetic of resistance in films of the New Wave has been cinematically reduced to symbols, icons, and gestures. Examples include recurring images of the Palestinian flag, maps of 1948 Palestine, kuffiyah, land/olives, images of Yasser Arafat, rock-throwing, and dabke. For example, Elia Suleiman's films contain little dialogue, and rely on visual storytelling to express the Palestinian experience as what he describes as a “microcosm of a human experience.” Using films such as Suleiman’s Divine Intervention (2001) and The Time That Remains (2009); Hany Abu-Assad's Paradise Now (2006); and Annemarie Jacir's Salt of This Sea (2009), I will propose that although a narrative of resistance through language may be “untranslatable,” resistance can be aesthetically encoded and translatable through symbols, icons and gestures to both Arab and non-Arab audiences.