In this essay, Westmoreland discusses Zaatari’s upbringing in Lebanon, and how he came to filmmaking primarily through an early interest in photography, which he used to document the tumultuous world around him. Westmoreland also addresses Zaatari’s early desire to examine and document the everyday, and how that impulse today shapes Zaatari’s approach to filmmaking and its examination of the act of image-making during times of war.