The symbiotic relationship between right-wing Christian evangelicals and Jewish Israelis is explored with uneven and wishy-washy strokes in Israeli documentarian Maya Zinshtein’s ’Til Kingdom Come.

In an hour and 16 minutes, Zinshtein attempts to intertwine the struggles of post-industrial white Appalachia and an ardent pro-Israeli nonprofit to examine the consequences of their alliance. For those unfamiliar with the subject matter, Zinshtein’s film will explain a lot about what ideologically drives these groups, despite having seemingly different religious beliefs. However, the diversity of voices is narrow, and the lack of hard-hitting questions asked of its subjects comes across as a missed opportunity.

The film opens in the decaying town of Middlesboro, Kentucky—a region of the American hinterland left to rot after decades of wealth concentration and a dissipating tax base. We are introduced to a variety of the town’s locals, including the baby-faced evangelical Pastor Boyd Bingham IV, who reminds audiences how much Trump “spoke to people like me.” Signs—“In Debt? Jesus Saves.”—overlook dilapidated store fronts and deserted streets where the only active businesses are gas stations and Walgreens. Scenes where Bingham bluntly states his intent to indoctrinate the youth are almost too-on-the-nose for comment. Here, Zinshtein’s lens is most fascinating in its focus—a clear depiction of how extreme poverty, lack of economic opportunity, and religious proselytizing catalyzes a collective desperation for any sort of higher meaning, however apocalyptic.

We are also introduced to Yael Eckstein and her father, Rabbi Yechiel Eckstein, both leaders of the International Fellowship of Christians and Jews, a nonprofit whose goal is to raise funds for Israeli interests. Their fundraising efforts are bolstered by their collaboration with various Christian mega-church pastors, including Bingham, and from powerful billionaires and Trump acolytes, including Mike Pence, Ivanka Trump, Jared Kushner, and Mike Pompeo.

Where Zinshtein succeeds in her patient, observant approach is in letting her subjects speak for themselves, such as when Bingham’s father, William Bingham III, tries to convert the film crew. His passive-aggressiveness fails to hide his anti-Semitic sentiments, thus revealing the disturbing and shaky foundations of this alliance. But where Zinshtein falls short is in how little time she gives to opposing voices. A Palestinian Christian pastor, Rev. Dr. Munther Isaac, challenges the younger Bingham on his ideology and politics, and the moment is tense but incredibly brief.

Critique from Palestinians and progressive Jews are almost nonexistent. At an event celebrating the 2018 opening of the U.S embassy, which was transferred from Tel Aviv to the contested capital of Jerusalem in a move largely supported by American evangelicals and opposed by Palestinians, Israeli journalist Barak Ravid aptly points out how there were no Palestinians at any of the talks leading up to the move: it’s like a wedding and “there’s only a groom, evangelical priest, and no bride.” The same came almost be said of this documentary. Missing are diverse perspectives, such as from those involved in the controversial but undeniably significant Boycott, Divestment, and Sanctions movement.

Without progressive voices (many leftist Jewish American voices, like Noam Chomsky or Norman Finkelstein, have studied this issue for decades), ’Til Kingdom Come, though informative, feels like it’s missing a call-to-action element in favor of forcing viewers to spectate helplessly at the contradictions.