This paper is an ideology critique of Maysaloun Hamoud’s 2016 fictional feature In Between, which is itself an ideology critique cast in filmic form. In Between follows in intimate detail the everyday lives of three Palestinian women as they struggle against the entangled violences of racial, religious, cultural, and sexual differentiation. The filmmaker is concerned mainly with what is framed—both cinematically and epistemically—as Indigenous hetero/sexism and its vicious but vulnerable social reproduction. Although the film is also somewhat critical of colonial racism, In Between is animated by colonial and racial logics which ultimately undermine the feminist ideological work the film attempts to perform. Even as every main and even secondary character is Indigenous, the film is connotatively animated by civilizationist logics that denotatively animate sexual renditions of racial, religious, and cultural difference in gay settler films that queer anticolonial organizers have critiqued for pinkwashing. The film traffics in these cultural logics visually through composition and camerawork as well as narratively through the plot and dialogue. This paper’s close reading of the film’s formal elements takes up conceptual and methodological debates in queer and sexuality studies of the Middle East. Engaging scholarship that addresses the limits of concepts such as queer liberalism and homonationalism—along with corresponding methods of epistemological and ideology critique—this paper explores the political risks of forgoing the latter, which are salient even when settler imperialism and its regimes of racialization are not the primary objects of analysis. Woven throughout is an examination of the problem and promise of the queer-theoretical premise of non-referentiality, the geo/political implications of which have been considered in critiques of empire across historical materialist, transnational feminist, queer of color, and Indigenous critical theory.