WEBVTT 00:00.472 --> 00:05.060 [SPEAKER_01]: Hi everyone, welcome back to Room for Us, a space-square-queer-voices-thrive. 00:05.561 --> 00:11.492 [SPEAKER_01]: I'm your host, P, and every single week I like to sit down and get vulnerable and talk about all things queer with all of you. 00:12.700 --> 00:18.624 [SPEAKER_01]: Lately you've probably noticed that I've been trying to really make my platform a place where I can speak more about my beliefs. 00:19.204 --> 00:23.527 [SPEAKER_01]: And I want to be up front about that because it might be like a shift from my usual content. 00:23.928 --> 00:27.530 [SPEAKER_01]: You know, personal storytelling, pop culture, queer film, and movies. 00:27.990 --> 00:31.453 [SPEAKER_01]: This show started as a space for queer stories and it still is. 00:31.953 --> 00:33.314 [SPEAKER_01]: That's definitely not going anywhere. 00:33.874 --> 00:37.857 [SPEAKER_01]: But I also want to use this platform to talk about human rights 00:42.420 --> 00:47.983 [SPEAKER_01]: One thing I've always struggled with is that none of us choose the situation we're born into. 00:48.924 --> 00:55.828 [SPEAKER_01]: There's a speech from Angelina Jolie that has always struck a chord for me and I'm going to play the clip of it right here. 00:56.689 --> 01:05.794 [SPEAKER_00]: I have never understood why some people are lucky enough to be born with the chance that I had to have this path in life. 01:07.118 --> 01:26.931 [SPEAKER_00]: And why across the world, there's a woman just like me with the same abilities, and the same desires, same work ethic, and love for her family, who would most likely make better films and better speeches, only she sits in a refugee camp. 01:28.432 --> 01:29.512 [SPEAKER_00]: And she has no voice. 01:31.754 --> 01:33.515 [SPEAKER_00]: She worries about what her children will eat, 01:37.240 --> 01:44.767 [SPEAKER_00]: And if they'll ever be allowed to return home, I don't know why this is my life, and that's hers. 01:47.630 --> 01:56.158 [SPEAKER_00]: I don't understand that, but I will do as my mother asks, and I will do the best I can with this life to be of use. 01:58.411 --> 02:05.941 [SPEAKER_00]: And to stand here today means that I did as she asked, and if she were alive, she'd be very proud. 02:05.961 --> 02:07.363 [SPEAKER_00]: So thank you for your time. 02:09.357 --> 02:10.497 [SPEAKER_01]: I think about that a lot. 02:11.658 --> 02:13.679 [SPEAKER_01]: I live an extremely privileged life. 02:14.719 --> 02:22.122 [SPEAKER_01]: I was born into a loving family who could support me, pay for my education, and give me the freedom to choose whatever path I wanted. 02:22.442 --> 02:29.425 [SPEAKER_01]: Meanwhile, somewhere right now, there is a woman my exact age, 30 years old, living through a war in 2026. 02:29.485 --> 02:34.427 [SPEAKER_01]: Same age, same planet, completely different lives. 02:39.610 --> 02:46.453 [SPEAKER_01]: And this is a world where Elon Musk, according to Forbes, is worth around $900 billion. 02:47.173 --> 02:48.553 [SPEAKER_01]: Nearly a trillion. 02:49.614 --> 03:02.859 [SPEAKER_01]: While parents in Gaza are trying to find clean water and a safe place to sleep, the gap between those two lives is the kind of thing we've quietly agreed to not look at, and that has never sat right with me. 03:03.219 --> 03:05.320 [SPEAKER_01]: And that's what today's episode is going to be about. 03:06.260 --> 03:13.866 [SPEAKER_01]: Today, I want to talk about a little girl named Henry Job, and a film that made sure the world couldn't look away from her. 03:14.927 --> 03:17.889 [SPEAKER_01]: Because I don't think compassion has a topic list. 03:18.389 --> 03:23.893 [SPEAKER_01]: I don't think, quote unquote, I'd rather stay out of it, is ever neutral. 03:24.534 --> 03:32.580 [SPEAKER_01]: And as queer people, we know better than most what it means when the world decides that someone's life is too political to talk about. 03:33.300 --> 03:43.483 [SPEAKER_01]: On September 19th, 2026, Ed Sheeran made a speech at his concert, responding to the controversy surrounding the promoter's decision to remove Macklemore from the tour. 03:44.523 --> 03:56.147 [SPEAKER_01]: He admitted to making mistakes during this fallout, but still, Ed Sheeran explicitly chose not to take a single side, framing his stance as a humanitarian position rather than a political one. 03:57.677 --> 03:59.958 [SPEAKER_01]: I want you to really think about what Ed is saying. 04:00.818 --> 04:15.183 [SPEAKER_01]: He was reading off a teleprompter and neatly prepared a statement saying he has always tried to avoid being a political commentator because he wants his shows to focus on unity, not division, and humanity, not politics. 04:16.625 --> 04:23.751 [SPEAKER_01]: He did acknowledge the situation as a humanitarian crisis, but expressed grief for victims on both sides. 04:24.211 --> 04:25.132 [SPEAKER_01]: This is a genocide. 04:25.532 --> 04:31.177 [SPEAKER_01]: What is happening to Gaza, to Palestine, and the surrounding areas is a genocide. 04:31.497 --> 04:36.721 [SPEAKER_01]: Now hold another image next to the speech, and we're gonna go back a couple of years. 04:37.602 --> 04:42.306 [SPEAKER_01]: a car on a street in Gaza City, January 29, 2024. 04:43.127 --> 04:53.156 [SPEAKER_01]: Inside it are the bodies of Henry Jobs and Uncle and Cousins and alive in the backseat surrounded by them is a little girl on a phone crying for help. 04:54.338 --> 04:55.399 [SPEAKER_01]: She says she's scared. 04:55.939 --> 04:57.440 [SPEAKER_01]: She says the tank is close. 04:58.141 --> 05:00.443 [SPEAKER_01]: She asks someone to please come and get her. 05:00.904 --> 05:01.564 [SPEAKER_01]: Two images. 05:02.705 --> 05:06.347 [SPEAKER_01]: One of them involves a person of status, choosing not to get into it. 05:07.207 --> 05:10.649 [SPEAKER_01]: The other involves a child who never got to choose anything. 05:10.909 --> 05:14.051 [SPEAKER_01]: We're going to talk about the film, the voice of Henry Job. 05:14.151 --> 05:21.555 [SPEAKER_01]: I want to tell you what it is, what it does to you, why it has done what it is done to the world and why I believe everyone. 05:22.135 --> 05:24.336 [SPEAKER_01]: And I do mean everyone should watch it. 05:25.597 --> 05:27.257 [SPEAKER_01]: It's not going to make you comfortable. 05:27.878 --> 05:28.238 [SPEAKER_01]: It won't. 05:29.741 --> 05:33.184 [SPEAKER_01]: But some things are too important to be optional. 05:33.645 --> 05:36.027 [SPEAKER_01]: I don't like to get into politics, quote unquote. 05:36.387 --> 05:37.328 [SPEAKER_01]: Let's start with this line. 05:38.569 --> 05:39.650 [SPEAKER_01]: Here's my problem with it. 05:40.371 --> 05:44.134 [SPEAKER_01]: Music has never been separate from politics, not once. 05:44.755 --> 05:52.161 [SPEAKER_01]: Go back through the songs that shaped the last 100 years and see how many were written as a protest as a morning as defiance. 05:53.142 --> 05:54.964 [SPEAKER_01]: Billie Holiday singing strange fruit. 05:55.585 --> 05:58.528 [SPEAKER_01]: Nina Simone, Marvin Gaye asking what's going on. 05:59.209 --> 06:04.314 [SPEAKER_01]: Bob Marley, Fela Cudi, Woody Guthrie, Public Enemy. 06:04.895 --> 06:14.205 [SPEAKER_01]: Whole genres were built by people who were told their lives were too political for the mainstream, and they made art anyway, because staying quiet wasn't an option they had. 06:15.186 --> 06:23.130 [SPEAKER_01]: And as a queer person, I can't ignore this part, disco, ballroom, house, the dance floor itself, those were spaces built by queer people. 06:23.750 --> 06:28.633 [SPEAKER_01]: Black and brown queer people, especially who needed somewhere to exist when the world wouldn't let them. 06:29.473 --> 06:30.954 [SPEAKER_01]: Pride began as a riot. 06:31.534 --> 06:37.677 [SPEAKER_01]: Our anthems, and I mean the songs we belt out at every pride were political long before anyone put them on a playlist. 06:38.257 --> 06:43.700 [SPEAKER_01]: So when someone with a global stage says they don't do politics, I hear something different. 06:44.380 --> 06:54.286 [SPEAKER_01]: I hear someone who can afford not to, and that's really the point, staying out of politics is a position only available to the people the politics isn't happening to. 06:54.886 --> 06:55.747 [SPEAKER_01]: It's a luxury. 06:56.627 --> 07:00.009 [SPEAKER_01]: A child trapped in a car in Gaza doesn't get to opt out. 07:00.350 --> 07:08.074 [SPEAKER_01]: I also believe that having a platform changes the equation, when millions of people are looking at you, choosing what you say is a 07:11.516 --> 07:14.558 [SPEAKER_01]: silence in front of a crowd that size is a message. 07:15.038 --> 07:18.981 [SPEAKER_01]: It tells everyone watching what you think is worth risking your comfort for. 07:19.581 --> 07:22.023 [SPEAKER_01]: That's the responsibility that comes with the microphone. 07:22.843 --> 07:27.486 [SPEAKER_01]: A five-year-old asking if someone is coming for her is not a side. 07:28.246 --> 07:30.408 [SPEAKER_01]: She is in a talking point, she's a kid. 07:31.048 --> 07:34.951 [SPEAKER_01]: The moment we decide that remembering her is political, quote-unquote, 07:37.332 --> 07:48.334 [SPEAKER_01]: We've agreed that basic human compassion, the thing we'd feel instantly, if it were our niece, our daughter, the little girl next door, has to pass through a filter of who's allowed to feel it and about whom. 07:48.634 --> 07:50.294 [SPEAKER_01]: Think about how strange that is. 07:50.735 --> 07:57.756 [SPEAKER_01]: If a little girl were trapped in a car in any other circumstance, a flood, a fire, a crash, nobody would say, I don't want to get into the politics. 07:58.196 --> 08:00.616 [SPEAKER_01]: We'd be glued to the phone, we'd want to know. 08:01.076 --> 08:03.317 [SPEAKER_01]: Did they get to her, did someone reach her in time? 08:04.177 --> 08:10.422 [SPEAKER_01]: So the question the film asks, relentlessly, is why did we ever agree that this one was different? 08:11.963 --> 08:17.268 [SPEAKER_01]: And that's what I want to say to anyone who has ever felt that flinch, the flicker of, I'd rather not get into it. 08:17.648 --> 08:22.632 [SPEAKER_01]: This film is designed deliberately and brilliantly to walk you through that flinch rather than around it. 08:23.432 --> 08:25.854 [SPEAKER_01]: So let's talk about what actually happened to Henry Job. 08:26.775 --> 08:28.957 [SPEAKER_01]: Henry Job was a little girl from Gaza City. 08:29.337 --> 08:34.001 [SPEAKER_01]: and on January 29, 2024, her family was trying to flee the city in a car. 08:34.782 --> 08:40.887 [SPEAKER_01]: Reports from that day, in the account that has been widely told since, say that the car came under heavy fire. 08:41.528 --> 08:45.051 [SPEAKER_01]: Several of her relatives her aunt, her uncle, and cousins were killed in that car. 08:45.992 --> 08:47.774 [SPEAKER_01]: in survived at least at first. 08:48.595 --> 08:52.220 [SPEAKER_01]: She was trapped in the backseat surrounded by the dead, and she had a phone. 08:52.821 --> 09:00.912 [SPEAKER_01]: She managed to call the Palestine Red Crescent Society, the emergency service, and what followed was a phone call that went on for a very, very long time. 09:02.068 --> 09:09.155 [SPEAKER_01]: It has believed that Henry Job was on the phone with emergency dispatchers for approximately three to three and a half hours. 09:10.036 --> 09:13.399 [SPEAKER_01]: As she remained trapped inside a car, she was terrified. 09:14.180 --> 09:17.503 [SPEAKER_01]: She told him the tank was near, she said she was afraid of the dark. 09:17.964 --> 09:19.906 [SPEAKER_01]: She asked them to please come and take her. 09:21.067 --> 09:23.989 [SPEAKER_01]: Here's the detail that I think a lot of people don't know and it's important. 09:24.529 --> 09:28.392 [SPEAKER_01]: The red crescent volunteers in that column did what emergency responders do. 09:28.853 --> 09:30.974 [SPEAKER_01]: They tried everything to keep her on the line. 09:31.375 --> 09:33.336 [SPEAKER_01]: They coordinated with an ambulance crew. 09:33.857 --> 09:38.240 [SPEAKER_01]: They tried to arrange safe passage because in a war zone you can't just send an ambulance. 09:38.640 --> 09:41.583 [SPEAKER_01]: It has to be coordinated so that it's not fired upon. 09:42.463 --> 09:45.225 [SPEAKER_01]: An ambulance was dispatched, two paramedics. 09:45.966 --> 09:49.928 [SPEAKER_01]: Use of Zano, an Ahmed al-Madhoun, drove out to reach her. 09:50.709 --> 09:52.830 [SPEAKER_01]: Then they lost contact with the ambulance too. 09:53.510 --> 09:56.352 [SPEAKER_01]: Twelve days later in the aftermath, the bodies were found. 09:57.073 --> 09:59.975 [SPEAKER_01]: Hinden the car, and the ambulance nearby destroyed. 10:00.695 --> 10:04.956 [SPEAKER_01]: The vehicle hint was in had been struck by reportedly hundreds of bullets. 10:05.596 --> 10:08.077 [SPEAKER_01]: Reviews of the film put the figure out roughly 335. 10:08.117 --> 10:12.778 [SPEAKER_01]: The Israeli military initially said it had no forces in that area at the time. 10:13.498 --> 10:21.580 [SPEAKER_01]: Independent investigations by news organizations and forensic research groups have since challenged that, pointing to evidence of tank positions nearby. 10:22.020 --> 10:26.641 [SPEAKER_01]: The film was directed by Kouthr Benhania, the Tunisian filmmaker who'd already been nominated 10:31.063 --> 10:39.391 [SPEAKER_01]: She has said she first heard his recording while she was prompting an earlier film, and it left her with an overwhelming sense of powerlessness. 10:40.352 --> 10:43.395 [SPEAKER_01]: She wanted to find a way to share that feeling with an audience. 10:43.896 --> 10:45.618 [SPEAKER_01]: That's the origin of the whole project. 10:46.138 --> 10:50.002 [SPEAKER_01]: How do I make people feel what I felt when I heard that voice? 10:51.063 --> 10:54.164 [SPEAKER_01]: And this is the choice that makes the film extraordinary. 10:54.625 --> 10:58.486 [SPEAKER_01]: Counter uses his real voice, the actual recordings. 10:59.207 --> 11:03.588 [SPEAKER_01]: Nothing is recreated, nothing is revoiced, there isn't a child actor. 11:04.489 --> 11:06.810 [SPEAKER_01]: You are actually hearing the little girl. 11:07.330 --> 11:18.117 [SPEAKER_01]: Around that real audio, the film reconstructs the scene in the red crescent call center with actors playing the volunteers, including Saja Kalani and Motoz Malhiz. 11:18.837 --> 11:30.765 [SPEAKER_01]: We are in that room and only that room, fluorescent lights, phones, desks, a bunch of tired people, a map on the screen, and the film runs at around 89 minutes you never really leave that office. 11:32.044 --> 11:37.846 [SPEAKER_01]: You're not seeing these battle scenes, you're not seeing these explosions, you don't see the car, you don't even see Gaza burning. 11:38.267 --> 11:40.227 [SPEAKER_01]: The film doesn't show you the violence at all. 11:40.587 --> 11:43.509 [SPEAKER_01]: What you see instead are the faces of people listening. 11:44.029 --> 11:50.912 [SPEAKER_01]: That is the whole trick of this movie and I think it's a genius one, because it means the film can't be dismissed as this manipulative spectacle. 11:51.492 --> 11:55.754 [SPEAKER_01]: It can't be accused of showing you a shocking image to jerk a reaction out of you. 11:56.134 --> 11:59.235 [SPEAKER_01]: It just puts you in a room with a group of people doing their jobs, 12:02.316 --> 12:14.043 [SPEAKER_01]: You watch them make phone calls, you watch them argue about protocols, you watch them wait for permission that might not come, you watch the clock, and meanwhile the voice is there at the real voice coming out of the speakers. 12:14.964 --> 12:18.866 [SPEAKER_01]: There's a term for what this does to you, and I think it's a complicity of the witness. 12:19.346 --> 12:25.290 [SPEAKER_01]: You are being asked to do what people in that room did to listen, to be helpless to hope and then find out what happens. 12:26.211 --> 12:29.494 [SPEAKER_01]: Critics have described it as devastating without being sensational. 12:30.054 --> 12:36.000 [SPEAKER_01]: One reviewer called it essential cinema, another said it's incredibly difficult to watch and impossible to forget. 12:36.021 --> 12:42.047 [SPEAKER_01]: I think both of those things are exactly right and the second one is the point it's supposed to be difficult. 12:43.188 --> 12:45.569 [SPEAKER_01]: If it were easy, we'd have learned nothing from it. 12:45.829 --> 12:55.976 [SPEAKER_01]: The voice of Henry Job premiered at the Venice Film Festival in September 2025, and the audience gave it a standing ovation that reportedly lasted around 23 minutes. 12:57.337 --> 12:59.159 [SPEAKER_01]: 23 minutes. 12:59.859 --> 13:05.123 [SPEAKER_01]: People stood and clapped and cried and didn't want to stop because what else do you do after that? 13:05.803 --> 13:08.224 [SPEAKER_01]: It won the Silver Lion, the Grand jury prize. 13:08.384 --> 13:19.968 [SPEAKER_01]: It was Tunisia's official submission to the Academy Awards, and it was nominated for Best International Feature Film, which made Benjaniah the first era of woman to direct three Oscar-nominated films. 13:20.168 --> 13:22.849 [SPEAKER_01]: And you'll notice something about the executive producer list, too. 13:22.929 --> 13:28.871 [SPEAKER_01]: It's big names in the film industry, walking Phoenix, Brad Pitt, Jonathan Glazer, Alfonso Quaron. 13:29.651 --> 13:35.414 [SPEAKER_01]: some of the most respected names in cinema put their names on it, which also kind of brings me back to right where we started. 13:36.175 --> 13:40.197 [SPEAKER_01]: Those are people with big platforms, who did decide it was worth getting into. 13:40.717 --> 13:44.359 [SPEAKER_01]: People with brands and careers and audiences who might disagree and they said, 13:45.500 --> 13:47.741 [SPEAKER_01]: this matters enough to attach my name to. 13:47.761 --> 13:52.102 [SPEAKER_01]: And I'm warning you, this film is going to be heart wrenching. 13:52.582 --> 13:55.503 [SPEAKER_01]: But I think it's worth distinguishing between two kinds of pain. 13:56.063 --> 14:02.105 [SPEAKER_01]: There's the pain of being shocked being hit with imagery designed to overwhelm you, and then there's the pain of being present. 14:02.825 --> 14:04.547 [SPEAKER_01]: This film is the second kind. 14:04.767 --> 14:05.808 [SPEAKER_01]: It doesn't punch you. 14:06.288 --> 14:11.933 [SPEAKER_01]: It sits you down and says, stay here, stay in this room, stay on this line, and you do. 14:12.433 --> 14:16.396 [SPEAKER_01]: And somewhere around the middle, you realize you're doing something you almost never do anymore. 14:16.817 --> 14:20.500 [SPEAKER_01]: You're giving one thing your full attention for 89 minutes straight. 14:21.440 --> 14:37.710 [SPEAKER_01]: In an age where we consume tragedy in 15 second clips between advertisements, this film makes you sit with a single human being, you know her name, you know the sound of her voice, you know what she asked for, and that changes something in you. 14:38.291 --> 14:39.712 [SPEAKER_01]: Statistics don't do that. 14:40.512 --> 14:53.306 [SPEAKER_01]: Numbers, however enormous, never do that, tens of thousands of anything, can sometimes look like just a figure, but one little girl saying, please come is a real person. 14:53.627 --> 14:54.648 [SPEAKER_01]: She's a human being. 14:56.265 --> 15:01.906 [SPEAKER_01]: There's an old idea in the history of conflict that a single image, a single face, can define an entire war. 15:02.086 --> 15:05.467 [SPEAKER_01]: People point to the little girl in the famous photograph from Vietnam. 15:06.287 --> 15:09.107 [SPEAKER_01]: One reviewer of this film drew that same parallel. 15:09.747 --> 15:18.309 [SPEAKER_01]: That history's worst crises are often understood through the suffering of one child, and that for Gaza, that child is hint, and I think that's right. 15:18.649 --> 15:24.810 [SPEAKER_01]: That photograph is so moving, and then what you get from this film is a voice. 15:26.099 --> 15:31.968 [SPEAKER_01]: you cannot look away from a voice, you can close your eyes and you can still hear hints cry for help. 15:32.950 --> 15:35.975 [SPEAKER_01]: And I think that is why the film has landed in the way it has. 15:37.602 --> 15:41.586 [SPEAKER_01]: It asks you the question, can you listen to this and stay unmoved? 15:42.306 --> 15:44.568 [SPEAKER_01]: For most people, the honest answer is no. 15:45.389 --> 15:51.254 [SPEAKER_01]: When people talk about not wanting to get political, there's often an assumption that staying quiet is the neutral position. 15:51.694 --> 15:53.676 [SPEAKER_01]: It's the safe one, the no-side one. 15:54.277 --> 15:56.298 [SPEAKER_01]: But choosing silence is not neutral. 15:56.699 --> 16:03.224 [SPEAKER_01]: The bare minimum we can do from safety, from thousands of miles away, from the comfort of a couch or 16:04.085 --> 16:08.431 [SPEAKER_01]: At this point, a privileged person speaking on stage is remember them. 16:09.232 --> 16:19.605 [SPEAKER_01]: Remember, hint, remember you, Seth, and Ahmed, remember the call center staff who kept talking to hint, who kept saying they were going to come for her. 16:20.113 --> 16:21.774 [SPEAKER_01]: So why should everyone watch this film? 16:23.014 --> 16:27.135 [SPEAKER_01]: One, because it's an act of remembrance, Henry Job existed. 16:27.456 --> 16:29.936 [SPEAKER_01]: She had a name, a family of voice. 16:30.637 --> 16:34.318 [SPEAKER_01]: Films like this are how we make sure a person doesn't become a statistic. 16:35.098 --> 16:45.882 [SPEAKER_01]: The director herself said she wanted the voice of this little girl to echo beyond the frontiers and that the platform of the Oscars was a place to say there was a little girl in Gaza called Henry Job. 16:46.342 --> 16:49.503 [SPEAKER_01]: There was, watching it as a way of saying so back. 16:50.944 --> 16:50.985 [SPEAKER_01]: 2. 16:51.725 --> 16:52.326 [SPEAKER_01]: It's human. 16:52.887 --> 16:55.190 [SPEAKER_01]: You will hear a real child in fear. 16:55.710 --> 17:04.721 [SPEAKER_01]: If you've ever been a parent and aunt and uncle a teacher, or someone who is just a scared kid yourself, you already have everything you need to watch this film. 17:04.741 --> 17:05.142 [SPEAKER_01]: 3. 17:06.223 --> 17:09.644 [SPEAKER_01]: because it shows what these moments actually look like from the inside. 17:10.164 --> 17:17.247 [SPEAKER_01]: We talk about humanitarian corridors and coordination and de-confliction, and those words wash over us. 17:17.727 --> 17:23.749 [SPEAKER_01]: This film shows you what they mean in practice, a room of people begging for permission to save a child. 17:24.369 --> 17:27.430 [SPEAKER_01]: It makes an abstract system concrete, and that's a rare thing. 17:28.791 --> 17:31.932 [SPEAKER_01]: For, because those who are able to look away often do, 17:35.754 --> 17:38.277 [SPEAKER_01]: The world moves on, the next headline comes. 17:39.158 --> 17:44.323 [SPEAKER_01]: Art is one of those few tools we have to slow down and say, please look at this a little longer. 17:45.724 --> 17:46.065 [SPEAKER_01]: Five. 17:46.786 --> 17:58.117 [SPEAKER_01]: This is the one I feel most strongly, because how we respond to this says something about us, whether we can hold another person's suffering, even when it comes from a life we may never live ourselves. 17:59.339 --> 18:02.402 [SPEAKER_01]: I didn't choose where I was born, and neither did he end. 18:03.083 --> 18:05.766 [SPEAKER_01]: What I do get to choose is whether I listen. 18:06.346 --> 18:17.359 [SPEAKER_01]: So back to that stage, where Ed Sheeran's concert, the lights are on, the crowd is still there, and an artist with one of the biggest platforms in the world is still telling us he'd rather stay out of politics. 18:18.620 --> 18:26.246 [SPEAKER_01]: But while that sentence is being read of a teleprompter, children in Gaza and across Palestine are still being killed, thousands. 18:26.886 --> 18:34.352 [SPEAKER_01]: Hinderjop is the one whose voice we were able to hear, because someone recorded it and because of filmmaker refused to let it disappear. 18:34.912 --> 18:39.616 [SPEAKER_01]: But for every hint we know by name, there are so many more we never got to hear. 18:40.216 --> 18:44.880 [SPEAKER_01]: Children who also asked for help or couldn't, children who also had families and favorite 18:48.483 --> 18:50.646 [SPEAKER_01]: Hand didn't get to choose silence. 18:51.167 --> 18:58.657 [SPEAKER_01]: She wasn't handed a teleprompter, a script, a stage, a room of thousands of people hanging onto her every word. 18:59.799 --> 19:02.182 [SPEAKER_01]: She had a phone, she was trapped in a dark car. 19:02.983 --> 19:12.950 [SPEAKER_01]: and her voice, and all she said over and over, to the call center was, a version of someone please come get me, I'm scared. 19:13.550 --> 19:14.391 [SPEAKER_01]: That is the difference. 19:14.691 --> 19:18.593 [SPEAKER_01]: One person has every possible way to be heard, but chooses not to use it. 19:19.554 --> 19:22.676 [SPEAKER_01]: The other had almost nothing and used everything she had. 19:23.476 --> 19:28.179 [SPEAKER_01]: So for all of us for the listeners of room for us, I really encourage you to watch this film. 19:29.260 --> 19:37.411 [SPEAKER_01]: It will have your attention, you have your phone, you have your social media platforms, you have a voice of your own, however big or small your audiences. 19:38.252 --> 19:45.382 [SPEAKER_01]: Listen to her, talk about hint, remember hint redrob, and all of the people who are suffering and continue to suffer. 19:46.483 --> 20:01.327 [SPEAKER_01]: I know this was a heavy episode and I really, really thank you for being here and listening to this and being here with me through that, it's important, it's emotional for me too, but I really wanted to talk about this on this week's episode. 20:01.987 --> 20:04.787 [SPEAKER_01]: But with that, I will see you all next week. 20:05.087 --> 20:07.028 [SPEAKER_01]: Thank you as always for tuning in to room for us.