“My father told me, this is a dark organization, don’t go there.” Gonen Ben Itzhak sets up the moment when he decided to join Shin Bet, the Israeli secret security service, with his reaction to the 1995 assassination of Prime Minister Yitzhak Rabin. “I was shocked like everybody else,” he says, “I felt I needed to do something for my country.” His belief that joining Shin Bet appeared to be that something initiates the unresolved, perhaps irresolvable, conundrum at the center of The Green Prince, open in theaters 12 September. That conundrum begins with definitions and expectations, of self and nation, individual and community, morality, vengeance, and survival. The Palestinians were enemies, even the idea of Palestine was an existential threat to Israel, and so Itzhak embraced his work as a handler of double agents for Shin Bet, believing that the lines were clearly drawn. They were not. As it tells the story of Itzhak’s complicated relationship with one of these, Mosab Hassan Yousef, also known as “Son of Hamas,” Nadav Schirman’s film blurs lines as well, between drama and documentary, truth and desire, intersecting stories framed by smart edits between reenactments, archival footage, and interviews.