FUNDACIÓN VÍCTIMAS DEL TERRORISMO 93 - ENGLISH

24 Next, the panel entitled "The Middle East, epicentre of terror", moderated by Professor Aurken Sierra, focused on the conflict in Gaza and the difficulty the international press has in covering what is happening inside the Strip. The debate was attended by journalists Mikel Ayestarán, a freelancer in the Middle East, and Beatriz Lecumberri, who works for the International section, as well as Sonia Sánchez, professor of International Relations and Middle East expert at the Francisco de Vitoria University. to tell everyday stories of war and men- tioned the "Gaza Menu" coverage, in which he himself has posted daily pho- tos of a Gazan family's meal on his Ins- tagram account. Thanks to this project, he won the 2025 Ortega y Gasset Award for best multimedia coverage. In addi- tion, both Ayestarán and Lecumberri highlighted the work of Gazan jour- nalists who, from within and despite the risk to their own safety and that of their families, manage to report on the day-to-day reality of war. "In order to report at this time, journalists in Gaza face difficulties that are hard for us to imagine when we are here. They suf- fer from hunger and report on hunger. They suffer displacement and report on displacement. They are afraid and try to describe that fear. They are not journalists who go to a hotel at night to rest or have a clean bed. They are sto- rytellers and victims, and that changes everything," concluded Lecumberri. Sánchez brought a more analytical per- spective to the table. In addition to trying to view the conflict from all angles sur- rounding the war, such as geopolitical tensions, the professor raised a debate about why some conflicts are more vis- ible than others and the role of victims in geopolitics. "Terror in the Middle East cannot be understood unless it is inter- preted within the balance of power that exists in the region," she said. To conclude the day, the University of Navarra Museum hosted a screening of the film A Ghost in the Battle (Netf- lix), which tells the story of a young civ- il guard who infiltrates ETA for twelve years. Afterwards, director Agustín Díaz Yanes, producers Sandra Hermida and Belén Atienza, and Andrés Gertrúdix, one of the lead actors, participated in a discussion moderated by Pablo Castrillo, professor at the Faculty of Communica- tion. The conversation revolved around how to narrate terror and preserve mem- ory through the language of cinema. Díaz Yanes highlighted the challenge of tell- ing local stories to global audiences, as the film has been released on Netflix in 190 countries: "The task was not easy; you have to make sure that everything is understood through feelings, which are human." For his part, Gertrúdix referred to the dif- ficulties of addressing political violence on the big screen. He stated that "it is a sign of a healthy democracy that people can protest without anything happening, and we are talking about how the Civil Guard put an end to the hideouts and brought about the end of ETA. As long as there is no violence, diversity of opinion is what enriches a democratic society." In terms of information, Ayestarán and Lecumberri agreed on the importance of humanising the stories of the victims and having local sources. "I strongly insist on the need to give people's full names," said Ayestarán. The journalist emphasised the power of social media UNAV COURSE EDUCATION, CULTURE AND COEXISTENCE