Salama’s film includes part of her brief interview with Arafat, segments from an interview she had with one of Arafat’s closest friends and brief clips of interviews with various locals. Though effective, these scenes are in dire need of editing, which would enable her to convey the same sentiments without boring her audience.

The first half overplays the tedious repetition of Salama’s rejections, a significant portion of screen time that beats her point so deep into the ground that the viewer begins to lose interest. Finally, Salama is admitted into Arafat’s compound for an interview that she conducts despite having left her questions at home. The interview is short and predictable, through no fault of her own, with repeating questions such as “Is there anything you regret?” or “What do you want your legacy to be?” Salama was told that Arafat would not discuss personal matters and, despite her attempts, he stuck to his resolution. After the tedious first half, this interview comes as a kind of cheap payoff that hardly represents “a story that needed to be told.”

Days later Arafat becomes gravely ill and is flown to Ramallah. The viewer learns of this news via conference clips and voice-overs. For a long second half, Salama revisits the confusion and uncertainty surrounding his illness, which drags on in much the same manner it did in real life several years ago. Salama's attempts to convey emotion get bogged down in drawn-out scenes that leave the viewer more bored than moved.