The film combines the testimony of four women who went through rape or incest and the myths of rape from Metamorphoses, and attempts to locate the forgotten, flickering voice. To tell the story from the inside, to allow a place for a narrative which is difficult to hear, that deviates from the aesthetic and illuminates the sordid outlines of our culture.
A one-man campaign for prime minister, unveiling an image of a man who has lost everything. In a crazy election campaign, different voices of Israeli society are heard and Mashiha’s voice suddenly sounds saner than all.
A middle class woman, whose bag including her mobile phone, is stolen, finds herself stranded in a public telephone booth where she discovers within herself a mobility that she had long forgotten.
In a suburb in Israel, two fathers meet after their kids get into an accident. One insecure and unhappily married and the other divorced and unemployed, they slowly get involved in each other’s life.
Avner (45) is a chief engineer at the Carmel Tunnels project. One evening, when he returns home from work, he finds a traffic report in the mailbox. But what really gets his attention is the fact that in the photo, in the car, he sees a man sitting next to Ella, his wife. The man puts his hand gently on her neck. Avner cannot see his face. Being the man he is, a man of reason, logic and hard proof, he doesn't talk to her about it, but instead he gets a recorder, and begins to secretly record her telephone conversations, turning into a spy in his own house.
Two songs from Israeli lesbian singer Sharon Ben-Ezer.
Candles, tears of crying women, memories: that is how the film In Thy Blood Live begins. David Perlov's camera travels over photographs, focuses on faces that are no more, as in a gesture of parting. The history of the Holocaust is revealed in this film in a condensed, intensive way: first the memorials for the victims throughout Israel, and only then the beginning of it all - the rise of the Nazi regime, the Ghetto with its hunger and death, but with its music and theatre too, the uprising, the death camps; and it ends with the trial of Adolf Eichmann, one of the chief architects of the genocide. The music of Oedoen Partos, blending Jewish, Israeli and European motives, helps portray in sounds that lost world which now belongs to memory alone
This chilling documentary brings to light an overlooked but crucial episode in Holocaust history - the Euthanasia Program. Instituted in 1939 by the Nazi's to eliminate the mentally handicapped, this systematic killing program was the pivotal first step toward mass extermination.
Alon, a married man in his thirties, falls in love and obsessively stalks Jonathan, a ballet student who lives with his older boyfriend. When Jonathan finds out, he becomes a stalker himself.
When Ronen and his friends go to the beach, everyone is responsible of bringing something. But no one understands why, in addition to fruit, Ronen also brings a jar of pickles. A funny autobiographical film about friends, family and pickles.
When the Israeli government tries to silence a history, a light was shed on the nation's biggest taboo. This is the story of those who fought to erase Palestine and created an Israeli landscape of denial and those who are fighting to uncover it.
Out presents a domination/ submission scene set in a mundane living room. The increasing pain prompts the sub to spew out not only cries of pleasure and pain, but also sentences. The scene thus connotes both confessions under torture, and rituals of exorcism. The utterances of the demon who speaks through the sub are all quotes of Avigdor Lieberman, one of the most extreme right wing politicians in Israel. The ritual is framed by two scenes. A preceding interview with the two participants seems at the beginning to be a straightforward documentary, but transforms into an exposition of the narrative premise by which one is possessed, the other an exorcist. The final musical scene is a song set to the words of the Russian poet Esenin’s Letter to Mother. Executed as a one-shot, the song is a direct, if twisted, homage to the final scene of another film that deals with radical sexuality and politics: Dusan Makavejev’s WR, The Mystery of the Organism.
The protagonists of this documentary are three Palestinian women in a state of internal exile. Dalal, arrested at sixteen for associating with a terrorist organization, returns home after twelve years in an Israeli prison only to face rejection, both because she adopted a male role and because she is a single woman. Um Muhammad, a peasant living in a refugee camp, places her trust in God alone, while Mary Chass, a Christian from Haifa, moved to Gaza only to find herself and her family were strangers there. The film addresses the notion of the ‘other’ from various perspectives, but privileges the perspective of Palestinian women, removed from the focal point of the Palestinian struggle, isolated behind their veil.
