Producer
A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas’ “Hallelujah the hills” (1962), it’s an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics – parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.
Producer
A Tel Aviv taxi breaks down, and while the driver attempts to repair it, the passengers take shelter and relate tales to each other. One man relates how he became a hero, in a comic fashion, while on Army maneuvers; an elderly woman tells of her first visit to the big city; another woman tells how she and her husband invited his boss and his wife to their home for dinner, with the intent of getting the husband a raise, and they wound up in a hospital thinking they had food poisoning. Another story concerns how the police caught a demented-thief who stole from a bank to give money to the poor.
