As chilling as it is absurd, Kamal Aljafari’s Paradiso repurposes found footage from Israeli military propaganda and turns it into a fictional drama of men playing at war. Aljafari takes the title from a short story by Borges and describes the work as a “cinematic self-portrait” questioning our interpretation of screen violence, its relationship to real-world horrors, and troubling our positionality as spectators. Described by its maker as a “work of sabotage on archival materials”, in Paradiso XXXI, 108 Aljafari considers the ways narratives of war are constructed, creating a war film in which the supposed enemy is never seen. Found footage of military exercises in the Al-Naqab desert in the south of Palestine are subverted through editing to make a new narrative of war visible. Featuring no additional dialogue from the artist, European classical music is used heavily throughout, a dramatic soundtrack to these acts of violence. The resulting film is an uncanny and ambiguous watch, examining the ways that violence is naturalised through.