Culled from Israeli military propaganda materials from the ‘60s and ‘70s, Paradiso, XXI, 108 regards (with irony) towards a “cinematic self-portrait of men playing war”, to quote its author. Kamal Aljafari works here with a network of intertextual quotations – Sebald, Borges, Alighieri, themselves also “found” by the author – to create a conceptual counterpoint to the (fictional – what we see are exercises) images on the screen: “was then Your image like the image I see now?” (Dante). Like in Unusual Summer (2020), the filmmaker uses extradiegetic sound as a means of fictionalization (Silent Night, Handel’s Sarabande), proving his position as one of the most important found footage filmmakers of the moment.