This article examines two Israeli films Avraham Haffner's The Last Love of Laura Adler (1990) and Eli Cohen's The Summer of Aviya (1988) that assert the perspective of the excluded Other and articulate a sense of space that acknowledges the presence of ambiguity and heterogeneity. Their approach is compared to that of a Palestinian film of the same era, Michel Khleifi's Wedding in Galilee (1987), which conveys a comparable vindication of "otherness" in the life of a Galilean Arab village situated under the control of both Israeli military authority and indigenous patriarchal values. This film's implicit con¯ict of genders, generations, and national identities is revealed in its complexity, variegation, and ambiguity. Comparison of the three films suggests how nationality is shaped and questioned, borders are subverted, and a more ambivalent sense of space is asserted.