Cowboy uses the images from American cinema to expose the country’s settler colonial structure and its ability to depict genocidal acts through camera framing. The film, directed by the renowned Egyptian film critic Sami Al-Salamoni, reflects his theoretical critique of Hollywood through heavily edited scenes and shots from mainstream motion pictures. Al-Salamoni manages to take the audience through the history of commercialized image production towards a transnational solidarity image production as a response. This film was recovered as a part of a cache of archival films about various aspects of the Palestinian liberation movements that were found in Tokyo and therefore dubbed the “Tokyo Reels.”