Amos Gitai

"The Man With The Golden Eye" tells the extraordinary figure of Marco Melani through a live projection of materials collected in over ten years of research. Found footage, unpublished interviews with cinema and television personalities, fragments of films, extracts from television programs, photographs, readings and interventions by the author, intertwine giving voice to a chorus of precious testimonies.

The film was shot entirely in a nightclub, with an adjoining contemporary art gallery, whose customers are both Israelis and Palestinians, in one of Israel’s most open cities, Haifa. A long night in a place where the most diverse people meet: Jews, Muslims, gays, heterosexuals, transvestites; and three women, who in that multifaceted microcosm, a gathering peaceful hideout, can find shelter from male bullying and arrogance.

The film was shot entirely in a nightclub, with an adjoining contemporary art gallery, whose customers are both Israelis and Palestinians, in one of Israel’s most open cities, Haifa. A long night in a place where the most diverse people meet: Jews, Muslims, gays, heterosexuals, transvestites; and three women, who in that multifaceted microcosm, a gathering peaceful hideout, can find shelter from male bullying and arrogance.

A Tramway in Jerusalem is a situation comedy that juxtaposes stories and human situations in the context of the current Israeli Palestinian society in 2018. In Jerusalem the tramway connects several neighbourhoods, from East to West, recording their variety and differences.

A Tramway in Jerusalem is a situation comedy that juxtaposes stories and human situations in the context of the current Israeli Palestinian society in 2018. In Jerusalem the tramway connects several neighbourhoods, from East to West, recording their variety and differences.

Gitai pays homage to Albert Camus and explores the return to Palestinian villages while interjecting texts by Izhar Smilansky, Emile Habibi, Mahmoud Darwish, and Amira Hass.

Gitai pays homage to Albert Camus and explores the return to Palestinian villages while interjecting texts by Izhar Smilansky, Emile Habibi, Mahmoud Darwish, and Amira Hass.

Gitai pays homage to Albert Camus and explores the return to Palestinian villages while interjecting texts by Izhar Smilansky, Emile Habibi, Mahmoud Darwish, and Amira Hass.

Amos Gitai returns to the occupied territories for the first time since his 1982 documentary FIELD DIARY. WEST OF THE JORDAN RIVER describes the efforts of citizens, Israelis and Palestinians, who are trying to overcome the consequences of occupation. Gitai's film shows the human ties woven by the military, human rights activists, journalists, mourning mothers and even Jewish settlers. Faced with the failure of politics to solve the occupation issue, these men and women rise and act in the name of their civic consciousness. This human energy is a proposal for long overdue change.

Amos Gitai returns to the occupied territories for the first time since his 1982 documentary FIELD DIARY. WEST OF THE JORDAN RIVER describes the efforts of citizens, Israelis and Palestinians, who are trying to overcome the consequences of occupation. Gitai's film shows the human ties woven by the military, human rights activists, journalists, mourning mothers and even Jewish settlers. Faced with the failure of politics to solve the occupation issue, these men and women rise and act in the name of their civic consciousness. This human energy is a proposal for long overdue change.

Mezclando material documental y recreación filmada por Gitai, narra el asesinato de Isaac Rabin, Primer Ministro de Israel, el 4 de noviembre de 1995 en el centro de Tel-Aviv, a manos de un joven fanático sionista.

Mezclando material documental y recreación filmada por Gitai, narra el asesinato de Isaac Rabin, Primer Ministro de Israel, el 4 de noviembre de 1995 en el centro de Tel-Aviv, a manos de un joven fanático sionista.

Mezclando material documental y recreación filmada por Gitai, narra el asesinato de Isaac Rabin, Primer Ministro de Israel, el 4 de noviembre de 1995 en el centro de Tel-Aviv, a manos de un joven fanático sionista.

Mezclando material documental y recreación filmada por Gitai, narra el asesinato de Isaac Rabin, Primer Ministro de Israel, el 4 de noviembre de 1995 en el centro de Tel-Aviv, a manos de un joven fanático sionista.

The first of four installments in the groundbreaking Heartbeat of the World anthology film series. Comprised of several short films by some of the world's most exciting directors, Words with Gods follows the theme of religion - specifically as it relates to an individual's relationship with his/her god or gods...or the lack thereof. In Words with Gods, each director recounts a narrative centered around human fragility, as well as environmental and cultural crises involving specific religions with which each has a personal relationship; including early Aboriginal Spirituality, Umbanda, Buddhism, the Abrahamic faiths, Hinduism, and Atheism. An animated sequence by Mexican animator Maribel Martinez is woven through each of the film segments, with each segment narratively connected as a feature-length film.

The first of four installments in the groundbreaking Heartbeat of the World anthology film series. Comprised of several short films by some of the world's most exciting directors, Words with Gods follows the theme of religion - specifically as it relates to an individual's relationship with his/her god or gods...or the lack thereof. In Words with Gods, each director recounts a narrative centered around human fragility, as well as environmental and cultural crises involving specific religions with which each has a personal relationship; including early Aboriginal Spirituality, Umbanda, Buddhism, the Abrahamic faiths, Hinduism, and Atheism. An animated sequence by Mexican animator Maribel Martinez is woven through each of the film segments, with each segment narratively connected as a feature-length film.

Tsili is a young girl caught in the middle of World War II. After her family is taken to a concentration camp, Tsili hides in the forest, free from hatred and men, until the arrival of Marek, a stranger who speaks to her in Yiddish.

Tsili is a young girl caught in the middle of World War II. After her family is taken to a concentration camp, Tsili hides in the forest, free from hatred and men, until the arrival of Marek, a stranger who speaks to her in Yiddish.

Filmed in one sequence-shot of 1 hour and 25 minutes, Ana Arabia is a moment in the life of a small community of outcasts, Jews and Arabs, who live together in a forgotten enclave at the “border” between Jaffa and Bat Yam, in Israel. One day, Yael, a young journalist, visits them. In these dilapidated shacks, in the orchard filled with lemon trees and surrounded by mass public houses, she discovers a range of characters far removed from the usual clichés offered by the region. Yael has the feeling of having discovered a human goldmine. She no longer thinks of her job. Faces and words of Youssef and Miriam, Sarah and Walid, of their neighbors, their friends tell her about life, its dreams and its hopes, its love affairs, desires and disillusions. Their relation to time is different than that of the city around them. In this tinkered and fragile place, there is a possibility of coexistence. A universal metaphor.

Filmed in one sequence-shot of 1 hour and 25 minutes, Ana Arabia is a moment in the life of a small community of outcasts, Jews and Arabs, who live together in a forgotten enclave at the “border” between Jaffa and Bat Yam, in Israel. One day, Yael, a young journalist, visits them. In these dilapidated shacks, in the orchard filled with lemon trees and surrounded by mass public houses, she discovers a range of characters far removed from the usual clichés offered by the region. Yael has the feeling of having discovered a human goldmine. She no longer thinks of her job. Faces and words of Youssef and Miriam, Sarah and Walid, of their neighbors, their friends tell her about life, its dreams and its hopes, its love affairs, desires and disillusions. Their relation to time is different than that of the city around them. In this tinkered and fragile place, there is a possibility of coexistence. A universal metaphor.

Filmed in one sequence-shot of 1 hour and 25 minutes, Ana Arabia is a moment in the life of a small community of outcasts, Jews and Arabs, who live together in a forgotten enclave at the “border” between Jaffa and Bat Yam, in Israel. One day, Yael, a young journalist, visits them. In these dilapidated shacks, in the orchard filled with lemon trees and surrounded by mass public houses, she discovers a range of characters far removed from the usual clichés offered by the region. Yael has the feeling of having discovered a human goldmine. She no longer thinks of her job. Faces and words of Youssef and Miriam, Sarah and Walid, of their neighbors, their friends tell her about life, its dreams and its hopes, its love affairs, desires and disillusions. Their relation to time is different than that of the city around them. In this tinkered and fragile place, there is a possibility of coexistence. A universal metaphor.

Made for the Venice Film Festival's 70th anniversary, seventy filmmakers made a short film between 60 and 90 seconds long on their interpretation of the future of cinema.

The film intertwines historical events and intimate memories. I observe how architecture represents the transformations of society and those who give form to this architecture. We follow the journey of Munio, my father, born in 1909 in Silesia, Poland, the son of a tenant farmer of a Prussian junker. At the age of 18, Munio goes to Berlin and Dessau to meet Walter Gropius, Kandinsky and Paul Klee at the Bauhaus. In 1933, the Bauhaus was closed by the Nazis, who accused Munio of treason against the German people. Munio was imprisoned, then deported to Basel. He left for Palestine. Upon his arrival in Haifa, he began a career as an architect and adapted European modernist principles to the Middle East.

The film intertwines historical events and intimate memories. I observe how architecture represents the transformations of society and those who give form to this architecture. We follow the journey of Munio, my father, born in 1909 in Silesia, Poland, the son of a tenant farmer of a Prussian junker. At the age of 18, Munio goes to Berlin and Dessau to meet Walter Gropius, Kandinsky and Paul Klee at the Bauhaus. In 1933, the Bauhaus was closed by the Nazis, who accused Munio of treason against the German people. Munio was imprisoned, then deported to Basel. He left for Palestine. Upon his arrival in Haifa, he began a career as an architect and adapted European modernist principles to the Middle East.

The film intertwines historical events and intimate memories. I observe how architecture represents the transformations of society and those who give form to this architecture. We follow the journey of Munio, my father, born in 1909 in Silesia, Poland, the son of a tenant farmer of a Prussian junker. At the age of 18, Munio goes to Berlin and Dessau to meet Walter Gropius, Kandinsky and Paul Klee at the Bauhaus. In 1933, the Bauhaus was closed by the Nazis, who accused Munio of treason against the German people. Munio was imprisoned, then deported to Basel. He left for Palestine. Upon his arrival in Haifa, he began a career as an architect and adapted European modernist principles to the Middle East.

The film intertwines historical events and intimate memories. I observe how architecture represents the transformations of society and those who give form to this architecture. We follow the journey of Munio, my father, born in 1909 in Silesia, Poland, the son of a tenant farmer of a Prussian junker. At the age of 18, Munio goes to Berlin and Dessau to meet Walter Gropius, Kandinsky and Paul Klee at the Bauhaus. In 1933, the Bauhaus was closed by the Nazis, who accused Munio of treason against the German people. Munio was imprisoned, then deported to Basel. He left for Palestine. Upon his arrival in Haifa, he began a career as an architect and adapted European modernist principles to the Middle East.

A young couple marry in France in the 1940s and the film follows the arc of their marriage over the next decade. As France recovers from the trauma of the war, the wife finds herself increasingly caught up in acquiring material possessions while the husband prefers a more traditional lifestyle.

A young couple marry in France in the 1940s and the film follows the arc of their marriage over the next decade. As France recovers from the trauma of the war, the wife finds herself increasingly caught up in acquiring material possessions while the husband prefers a more traditional lifestyle.

Israeli filmmaker Amos Gitaï offers a look impressionist long history of armed conflict in their nation.

Israeli filmmaker Amos Gitaï offers a look impressionist long history of armed conflict in their nation.

Israeli filmmaker Amos Gitaï offers a look impressionist long history of armed conflict in their nation.

A man endeavors to collect memories of his grandparents who died in a concentration camp during the Holocaust.

A man endeavors to collect memories of his grandparents who died in a concentration camp during the Holocaust.

A man endeavors to collect memories of his grandparents who died in a concentration camp during the Holocaust.

Reunión de 33 cortometrajes de unos tres minutos cada uno realizados por 35 directores con motivo del 60 aniversario del Festival de Cannes.

Reunión de 33 cortometrajes de unos tres minutos cada uno realizados por 35 directores con motivo del 60 aniversario del Festival de Cannes.

A political drama centered around Israel's pullout from the occupied Gaza strip, in which a French woman of Israeli origin comes to the Gaza Strip to find her long ago abandoned daughter.

A political drama centered around Israel's pullout from the occupied Gaza strip, in which a French woman of Israeli origin comes to the Gaza Strip to find her long ago abandoned daughter.

A political drama centered around Israel's pullout from the occupied Gaza strip, in which a French woman of Israeli origin comes to the Gaza Strip to find her long ago abandoned daughter.

Movie houses in 1930s Poland and present-day Israel are attacked.

Documentary about a house and its politically divided ownership over time.

Documentary about a house and its politically divided ownership over time.

Rebecca (Natalie Portman), una joven estadounidense que vive en Jerusalén desde hace unos meses, acaba de romper con su novio. Sube al taxi de Hanna (Hanna Laslo), una mujer israelí que debe ir a Jordania, a la Zona Libre, a recoger una importante cantidad de dinero. Cuando llegan a su destino, Leila (Hiam Abbass), una mujer palestina, les explica que "el Americano" no está y que el dinero ha desaparecido. Una road-movie en Oriente Próximo; la historia de un encuentro inesperado, tres mujeres de culturas diferentes que intentarán, unir sus fuerzas para cambiar el curso de los acontecimientos. Es también el encuentro de religiones y culturas diferentes que nos permitirá comprender la compleja realidad del conflicto.

Rebecca (Natalie Portman), una joven estadounidense que vive en Jerusalén desde hace unos meses, acaba de romper con su novio. Sube al taxi de Hanna (Hanna Laslo), una mujer israelí que debe ir a Jordania, a la Zona Libre, a recoger una importante cantidad de dinero. Cuando llegan a su destino, Leila (Hiam Abbass), una mujer palestina, les explica que "el Americano" no está y que el dinero ha desaparecido. Una road-movie en Oriente Próximo; la historia de un encuentro inesperado, tres mujeres de culturas diferentes que intentarán, unir sus fuerzas para cambiar el curso de los acontecimientos. Es también el encuentro de religiones y culturas diferentes que nos permitirá comprender la compleja realidad del conflicto.

All the feature is given prestige to by the narration in Caetano Veloso's voice, that also signs one of the segments of the project. São Paulo is the largest city of the Southern Hemisphere, with an incessant dynamics of cultural mixtures, with immigrants of all the world and migrants of all parts of Brazil. The gathering of these peculiarities are seen through the 13 film directors's sensibilities and their segments.

Una noche en el desierto de Sinai. Un grupo de hombres y mujeres se calientan alrededor de un fuego de campamento bajo la luna. Las mujeres vienen de Europa del este. Los hombres son beduinos. Al día siguiente, cruzarán la frontera en secreto, y las mujeres serán golpeadas, violadas y subastadas como mercancía.

Una noche en el desierto de Sinai. Un grupo de hombres y mujeres se calientan alrededor de un fuego de campamento bajo la luna. Las mujeres vienen de Europa del este. Los hombres son beduinos. Al día siguiente, cruzarán la frontera en secreto, y las mujeres serán golpeadas, violadas y subastadas como mercancía.

Un edificio de apartamentos en las afueras de Tel Aviv. El anciano Schwartz disfruta de una existencia tranquila en compañía de Linda, la joven filipina que cuida de él. Sus vecinos –Aviram, que no sale de casa sin su perro, y la divorciada Mali, que tiene una relación sentimental con Ilan, un hombre más joven que ella– apenas le habían molestado hasta ahora. Pero, desde hace poco, el caos se ha apoderado del edificio y a diario se escuchan gritos y gemidos. ¿Será porque Hezi ha alquilado discretamente un apartamento para poder hacer el amor con Gabi? ¿O que los nuevos vecinos han decidido ampliar su vivienda hacia el patio sin solicitar los permisos necesarios? Tampoco a Mali le faltan los problemas. Su ex marido ha contratado a los obreros chinos de sus vecinos, que no tienen papeles, y por si fuera poco, su hijo Eyal acaba de desertar del servicio militar.

Un edificio de apartamentos en las afueras de Tel Aviv. El anciano Schwartz disfruta de una existencia tranquila en compañía de Linda, la joven filipina que cuida de él. Sus vecinos –Aviram, que no sale de casa sin su perro, y la divorciada Mali, que tiene una relación sentimental con Ilan, un hombre más joven que ella– apenas le habían molestado hasta ahora. Pero, desde hace poco, el caos se ha apoderado del edificio y a diario se escuchan gritos y gemidos. ¿Será porque Hezi ha alquilado discretamente un apartamento para poder hacer el amor con Gabi? ¿O que los nuevos vecinos han decidido ampliar su vivienda hacia el patio sin solicitar los permisos necesarios? Tampoco a Mali le faltan los problemas. Su ex marido ha contratado a los obreros chinos de sus vecinos, que no tienen papeles, y por si fuera poco, su hijo Eyal acaba de desertar del servicio militar.

Once directores, once historias, once puntos de vista sobre el atentado contra las Torres Gemelas y el Pentágono el 11 de septiembre del 2001, un suceso que cambió la historia del siglo XXI.

Once directores, once historias, once puntos de vista sobre el atentado contra las Torres Gemelas y el Pentágono el 11 de septiembre del 2001, un suceso que cambió la historia del siglo XXI.

In May 1948, shortly before the creation of the State of Israel, hundreds of immigrants from across Europe arrive in Palestine--only to risk arrest by British troops.

In May 1948, shortly before the creation of the State of Israel, hundreds of immigrants from across Europe arrive in Palestine--only to risk arrest by British troops.

In May 1948, shortly before the creation of the State of Israel, hundreds of immigrants from across Europe arrive in Palestine--only to risk arrest by British troops.

La película se desarrolla en Palestina entre 1940 y 1946. Es la historia de una joven mujer llamada Samantha que, junto a su marido Dov Ernst, emigra a Palestina. Ambos son sionistas americanos y hacen su traslado fuera de convicciones e idealismos políticos. Dov es arquitecto y comunista, y ha dedicado prácticamente toda su vida y su energía a construir un nuevo país, dejando a su mujer a su aire, incluso aunque ella intente encontrar formas de involucrarse en el trabajo de él. Kalman, el hermano de Samantha, capitalista, también deja Estados Unidos para marcharse a Palestina, donde espera encontrar un gran lugar para los negocios, encontrar oportunidades comprando tierras árabes. Su padre intenta advertirle para que abandone la idea; la tierra no es muy fértil allí.

La película se desarrolla en Palestina entre 1940 y 1946. Es la historia de una joven mujer llamada Samantha que, junto a su marido Dov Ernst, emigra a Palestina. Ambos son sionistas americanos y hacen su traslado fuera de convicciones e idealismos políticos. Dov es arquitecto y comunista, y ha dedicado prácticamente toda su vida y su energía a construir un nuevo país, dejando a su mujer a su aire, incluso aunque ella intente encontrar formas de involucrarse en el trabajo de él. Kalman, el hermano de Samantha, capitalista, también deja Estados Unidos para marcharse a Palestina, donde espera encontrar un gran lugar para los negocios, encontrar oportunidades comprando tierras árabes. Su padre intenta advertirle para que abandone la idea; la tierra no es muy fértil allí.

La película se desarrolla en Palestina entre 1940 y 1946. Es la historia de una joven mujer llamada Samantha que, junto a su marido Dov Ernst, emigra a Palestina. Ambos son sionistas americanos y hacen su traslado fuera de convicciones e idealismos políticos. Dov es arquitecto y comunista, y ha dedicado prácticamente toda su vida y su energía a construir un nuevo país, dejando a su mujer a su aire, incluso aunque ella intente encontrar formas de involucrarse en el trabajo de él. Kalman, el hermano de Samantha, capitalista, también deja Estados Unidos para marcharse a Palestina, donde espera encontrar un gran lugar para los negocios, encontrar oportunidades comprando tierras árabes. Su padre intenta advertirle para que abandone la idea; la tierra no es muy fértil allí.

6 de octubre de 1973, todo está en calma en Israel, es la fiesta de Yom Kippour (Día del Perdón)... cuando súbitamente estalla la guerra. Weinraub y su amigo Russo parten hacia el sur del Golán en busca de Egoz, la unidad especial donde hicieron el servicio militar. Terminan llegando a la base aérea de Ramat donde formarán parte de un equipo de rescate a bordo de un helicóptero.

6 de octubre de 1973, todo está en calma en Israel, es la fiesta de Yom Kippour (Día del Perdón)... cuando súbitamente estalla la guerra. Weinraub y su amigo Russo parten hacia el sur del Golán en busca de Egoz, la unidad especial donde hicieron el servicio militar. Terminan llegando a la base aérea de Ramat donde formarán parte de un equipo de rescate a bordo de un helicóptero.

6 de octubre de 1973, todo está en calma en Israel, es la fiesta de Yom Kippour (Día del Perdón)... cuando súbitamente estalla la guerra. Weinraub y su amigo Russo parten hacia el sur del Golán en busca de Egoz, la unidad especial donde hicieron el servicio militar. Terminan llegando a la base aérea de Ramat donde formarán parte de un equipo de rescate a bordo de un helicóptero.

The year 2000 approaches in Jerusalem's Orthodox Mea Shearim quarter, where the women work, keep house, and have children so the men can study the Torah and the Talmud. Rivka is happily and passionately married to Meir, but they remain childless. The yeshiva's rabbi, who is Meir's father, wants Meir to divorce Rivka: "a barren woman is no woman." Rivka's sister, Malka, is in love with Yakov, a Jew shunned by the yeshiva as too secular. The rabbi arranges Malka's marriage to Yossef, whose agitation when fulfilling religious duties approaches the grotesque. Can the sisters sort out their hearts' desires within this patriarchal world? If not, have they any other options?

The year 2000 approaches in Jerusalem's Orthodox Mea Shearim quarter, where the women work, keep house, and have children so the men can study the Torah and the Talmud. Rivka is happily and passionately married to Meir, but they remain childless. The yeshiva's rabbi, who is Meir's father, wants Meir to divorce Rivka: "a barren woman is no woman." Rivka's sister, Malka, is in love with Yakov, a Jew shunned by the yeshiva as too secular. The rabbi arranges Malka's marriage to Yossef, whose agitation when fulfilling religious duties approaches the grotesque. Can the sisters sort out their hearts' desires within this patriarchal world? If not, have they any other options?

The year 2000 approaches in Jerusalem's Orthodox Mea Shearim quarter, where the women work, keep house, and have children so the men can study the Torah and the Talmud. Rivka is happily and passionately married to Meir, but they remain childless. The yeshiva's rabbi, who is Meir's father, wants Meir to divorce Rivka: "a barren woman is no woman." Rivka's sister, Malka, is in love with Yakov, a Jew shunned by the yeshiva as too secular. The rabbi arranges Malka's marriage to Yossef, whose agitation when fulfilling religious duties approaches the grotesque. Can the sisters sort out their hearts' desires within this patriarchal world? If not, have they any other options?

In spite of blood ties to both Haifa's Jewish and Arab populations, Moshe (Moshe Ivgy) leads a rootless existence. Grown weary of his impatient wife Didi (Keren Mor) and ambivalent about his needy young mistress Grisha (Natali Atiya), the only relationships Moshe doesn't complicate are with his devoted parents, Jewish Hanna (Meron) and Arab Yussuf, and with Jules (Juliano Mer), Moshe's ne'er-do-well childhood friend. But when Jules' real estate developer brother moves to buy a prized piece of property from the Arab side of the family, Moshe's divided ancestry is put to the test.

In spite of blood ties to both Haifa's Jewish and Arab populations, Moshe (Moshe Ivgy) leads a rootless existence. Grown weary of his impatient wife Didi (Keren Mor) and ambivalent about his needy young mistress Grisha (Natali Atiya), the only relationships Moshe doesn't complicate are with his devoted parents, Jewish Hanna (Meron) and Arab Yussuf, and with Jules (Juliano Mer), Moshe's ne'er-do-well childhood friend. But when Jules' real estate developer brother moves to buy a prized piece of property from the Arab side of the family, Moshe's divided ancestry is put to the test.

Can a house be a metaphor for Arab-Jewish relations in Israel? Amos Gitai returns to the house in West Jerusalem he profiled in 1980. He interviews members of the Jewish families who live there, and he talks with the Arab family who lived in the house until 1948. They are now in East Jerusalem and pay a nearly furtive visit to the street in front of their old house. Gitai also interviews Palestinian laborers at work on renovations and excavating an old tunnel to the Holy Mount. What do people think of each other, what do they think of Israel, what do they think of co-existence? Do the current residents know the house's history?

Can a house be a metaphor for Arab-Jewish relations in Israel? Amos Gitai returns to the house in West Jerusalem he profiled in 1980. He interviews members of the Jewish families who live there, and he talks with the Arab family who lived in the house until 1948. They are now in East Jerusalem and pay a nearly furtive visit to the street in front of their old house. Gitai also interviews Palestinian laborers at work on renovations and excavating an old tunnel to the Holy Mount. What do people think of each other, what do they think of Israel, what do they think of co-existence? Do the current residents know the house's history?

In the train on the way to the Festival in Vesoul, filmmakers Amos Gitai and Elia Suleiman talk about the subjects that preoccupy them: war and peace in the Middle East, their film projects, their cities, their private lives… In Vesoul, the French welcome is rather comical and the questions of war and peace in the Middle East create misunderstandings: through a kind of inverted exoticism, we end up wondering who is really the “stranger” in this story.

Drama - This Israeli drama tells the story of three men living in Tel Aviv. They set off to attend a funeral. Unfortunately, they cannot find the right cemetery. Later the story shifts to their complex love lives. - Gabi Beniashvilly, Samuel Calderon, Helena Cherkasov

Drama - This Israeli drama tells the story of three men living in Tel Aviv. They set off to attend a funeral. Unfortunately, they cannot find the right cemetery. Later the story shifts to their complex love lives. - Gabi Beniashvilly, Samuel Calderon, Helena Cherkasov

Drama - This Israeli drama tells the story of three men living in Tel Aviv. They set off to attend a funeral. Unfortunately, they cannot find the right cemetery. Later the story shifts to their complex love lives. - Gabi Beniashvilly, Samuel Calderon, Helena Cherkasov

1992. In Wuppertal, in Germany, two skinheads killed a man who claimed to be Jewish. Amos Gitai questions the witnesses, the residents, and the protagonists of the trial.

1992. In Wuppertal, in Germany, two skinheads killed a man who claimed to be Jewish. Amos Gitai questions the witnesses, the residents, and the protagonists of the trial.

Danny Cornish, a sort of stateless man who arranges art exhibits, is called from Tel Aviv to Paris with the news that a great uncle has died, in Birobidjan, the autonomous Jewish zone in Russia, leaving him a valuable art collection and the hand of a huge sculpture of a Golem. The uncle's will instructs Danny to find the rest of the statue, so Danny, who speaks no Russian, embarks on a trip that takes him (and the Golem's hand) to Moscow, St. Petersburg, and Siberia, fumbling with hotel clerks, taxi drivers, and bureaucrats, following leads, and making discoveries about myth, story telling, art, and hope.

Danny Cornish, a sort of stateless man who arranges art exhibits, is called from Tel Aviv to Paris with the news that a great uncle has died, in Birobidjan, the autonomous Jewish zone in Russia, leaving him a valuable art collection and the hand of a huge sculpture of a Golem. The uncle's will instructs Danny to find the rest of the statue, so Danny, who speaks no Russian, embarks on a trip that takes him (and the Golem's hand) to Moscow, St. Petersburg, and Siberia, fumbling with hotel clerks, taxi drivers, and bureaucrats, following leads, and making discoveries about myth, story telling, art, and hope.

An allegory of the Golem, a Jewish mythical creature personifying displacement and exile, this film tells the story of a woman (similar to the biblical Ruth) and her sisters, who are forced into exile after the death of their husbands. It is set in 1990s Paris, where the director was living in self-imposed exile following the ban on his 1982 documentary in Israel. The recurring theme of the film is migrations and unrooting, like the legendary Golem.

An allegory of the Golem, a Jewish mythical creature personifying displacement and exile, this film tells the story of a woman (similar to the biblical Ruth) and her sisters, who are forced into exile after the death of their husbands. It is set in 1990s Paris, where the director was living in self-imposed exile following the ban on his 1982 documentary in Israel. The recurring theme of the film is migrations and unrooting, like the legendary Golem.

With the feel of experimental film, Gitai mixes storytelling, readers' theater, cityscapes (usually seen from moving trains), and desolate landscapes to mediate on the act of creation. What if a golem were fashioned out of dirt, much like Adam, and came to life? The film imagines it, in the desert and in Moscow. Interspersed are stories of a 14th-century Tuscan artist's creation of a tower that plays music when the wind blows, of a film director, and of Jeremiah and Sirat. In what ways is making a movie like creating a golem?

Two interconnected stories in the 1930s, one set in Berlin, the other in Palestine: Mania Vilbouchevich Shohat (1880-1961), called Tania, a Russian Jew and revolutionary, goes from Minsk to Palestine to live on a collective. She promotes feminism and laments a shift in the men from self-defense to aggression. Her friend, Else Lasker-Schuler (1869 - 1945), expressionist poet and German Jew, is in Berlin, writing, caring for her son, watching Hitler's movement take power. She goes to Jerusalem and imagines a park for Arab and Jew. Her poems, voiced from within, capture her experience. The film meditates on the violence at the root of Israel's birth: of the Nazis and of the Zionists.

Two interconnected stories in the 1930s, one set in Berlin, the other in Palestine: Mania Vilbouchevich Shohat (1880-1961), called Tania, a Russian Jew and revolutionary, goes from Minsk to Palestine to live on a collective. She promotes feminism and laments a shift in the men from self-defense to aggression. Her friend, Else Lasker-Schuler (1869 - 1945), expressionist poet and German Jew, is in Berlin, writing, caring for her son, watching Hitler's movement take power. She goes to Jerusalem and imagines a park for Arab and Jew. Her poems, voiced from within, capture her experience. The film meditates on the violence at the root of Israel's birth: of the Nazis and of the Zionists.

Two interconnected stories in the 1930s, one set in Berlin, the other in Palestine: Mania Vilbouchevich Shohat (1880-1961), called Tania, a Russian Jew and revolutionary, goes from Minsk to Palestine to live on a collective. She promotes feminism and laments a shift in the men from self-defense to aggression. Her friend, Else Lasker-Schuler (1869 - 1945), expressionist poet and German Jew, is in Berlin, writing, caring for her son, watching Hitler's movement take power. She goes to Jerusalem and imagines a park for Arab and Jew. Her poems, voiced from within, capture her experience. The film meditates on the violence at the root of Israel's birth: of the Nazis and of the Zionists.

The 1986 Eurythmics tour of Japan. It is the end of the world tour during which Annie Lennox (vocals) and Dave Stewart (guitar) promote their latest album "Revenge". It is also, between concerts, the shock of discovery: a world of sounds as cultivated by the Japanese, both brutally technological and highly refined traditional expressions.

Ahasverus, king of Persia and Media, puts aside Vashti and makes Esther his queen, choosing her among maidens in a kingdom stretching from India to Ethiopia. Esther, using information from Mordecai, her uncle and patron, saves the king from assassination. Haman, the king's favorite, is miffed when Mordecai won't bow to him, so he orders death to all Jews in the kingdom, under the seal of the king. Esther pleads for her people, and Mordecai is in turn given license to make his own edict under the king's seal. Mordecai loses sight of his original intention, and bloody murder ensues. Purim annually celebrates the story. At the end of the film, the actors comment.

Ahasverus, king of Persia and Media, puts aside Vashti and makes Esther his queen, choosing her among maidens in a kingdom stretching from India to Ethiopia. Esther, using information from Mordecai, her uncle and patron, saves the king from assassination. Haman, the king's favorite, is miffed when Mordecai won't bow to him, so he orders death to all Jews in the kingdom, under the seal of the king. Esther pleads for her people, and Mordecai is in turn given license to make his own edict under the king's seal. Mordecai loses sight of his original intention, and bloody murder ensues. Purim annually celebrates the story. At the end of the film, the actors comment.

Ahasverus, king of Persia and Media, puts aside Vashti and makes Esther his queen, choosing her among maidens in a kingdom stretching from India to Ethiopia. Esther, using information from Mordecai, her uncle and patron, saves the king from assassination. Haman, the king's favorite, is miffed when Mordecai won't bow to him, so he orders death to all Jews in the kingdom, under the seal of the king. Esther pleads for her people, and Mordecai is in turn given license to make his own edict under the king's seal. Mordecai loses sight of his original intention, and bloody murder ensues. Purim annually celebrates the story. At the end of the film, the actors comment.

Documentary about the process canned pineapple takes from cultivation to sale.

Wadi is a valley located east of Haifa. A former stone quarry, it is a sort of enclave where Eastern European immigrants, survivors of the camps, live in a state of fragile coexistence with Arabs who have also been expelled from their homes.

House is the story of a house in West-Jerusalem: abandoned during the 1948 war by its owner, a Palestinian doctor; requisitioned by the Israeli government as "vacant'; rented to Jewish Algerian immigrants in 1956; purchased by a university professor who undertakes its transformation into a patrician villa... The building site is like a theatre in which the former inhabitants, the neighbours, the workers, the builder and the new owner all appear. Israeli television censured the film. "Gitai wants this house to be both a symbol and something very concrete; he wants it to become a character in a film. He achieves one of the most beautiful things a camera can register 'live', as it were; people who look at the same thing but see different things - and who are moved by that vision. In this crumbling shell of a house, real hallucinations begin to take shape. The film's central idea is simple and the film has simply the force of that idea, no more, no less."

An essay parable, part documentary part fiction, on the desire for a leader, anchored in Brecht’s 1935 poem A Worker Reads History.

An essay parable, part documentary part fiction, on the desire for a leader, anchored in Brecht’s 1935 poem A Worker Reads History.

1974 Gitai super8 short film

1973 Gitai super8 short

1973 Gitai super8 short film

1972 Gitai super8 short film

1972 Gitai super8 short film

1972 Gitai super8 short film

Shards of cinema and philosophy.