Neal Gibbs

대니는 맥스와의 관계로 임신했지만 그녀는 파티에서 그에게 말할 여유가 없다. 한편, 맥스는 여자친구 아비샤그의 성적 환상을 그녀와 함께 시도하느라 바쁜데...

Figure-Ground is an unorthodox exploration of the bizarre reality of the Israeli-Palestinian conflict: an associative compilation of found footage, composed entirely of excerpts from YouTube videos of the beach of Tel Aviv and the hills and valleys of the West Bank. As bathers hurriedly seek shelter when the siren warns of missiles, soldiers on the other side clash with protesting Palestinians, and a bulldozer goes about its demolition work. An Israeli settler shows off his grapes, while elsewhere a Palestinian describes how his orchard was destroyed. Dogs harass a flock of sheep, dogs play on the beach. At times, protesters confront each other with Israeli and Palestinian flags. In this energetic and apparently intuitive collage, two parallel realities full of staggering contrasts are juxtaposed, yet they are also inextricably linked. And not only because the poppies on the coast look just like the flowers growing in the hills.

Figure-Ground is an unorthodox exploration of the bizarre reality of the Israeli-Palestinian conflict: an associative compilation of found footage, composed entirely of excerpts from YouTube videos of the beach of Tel Aviv and the hills and valleys of the West Bank. As bathers hurriedly seek shelter when the siren warns of missiles, soldiers on the other side clash with protesting Palestinians, and a bulldozer goes about its demolition work. An Israeli settler shows off his grapes, while elsewhere a Palestinian describes how his orchard was destroyed. Dogs harass a flock of sheep, dogs play on the beach. At times, protesters confront each other with Israeli and Palestinian flags. In this energetic and apparently intuitive collage, two parallel realities full of staggering contrasts are juxtaposed, yet they are also inextricably linked. And not only because the poppies on the coast look just like the flowers growing in the hills.

이스라엘 감독 대니 로젠버그가 아버지를 주인공으로 만든 첫 장편으로, 자전적 픽션과 다큐멘터리적 요소가 공존하는 영화다. 감독은 카메라로 아버지의 불치병이 악화되는 과정을 따라가지만, 노아 콜러와 같은 전문 배우도 등장한다. 영화적 미로를 만들기 위해 고전적 형식을 의식적으로 거부하는 이 영화는 아버지와 그의 암투병에 대한 감독의 오마주다.

Carmel (17) is asked to convey a message of reconciliation from his best friend Ido's recent ex-girlfriend. When he finds Ido heartbroken and in need of comfort, he clings to the last moments of closeness.

In a rain swept Tokyo, Eko complicates her life by publishing a 'Call For Dreams' ad in a newspaper. As strangers leave descriptions of dreams on her answering machine, a parallel police investigation of a murder in Tel Aviv unfolds.

The film captures the daily duality of three young Palestinian women in Tel Aviv, caught between hometown tradition and big city abandon, and the price they must pay for a lifestyle that seems obvious to many: the freedom to work, party, fuck, and choose.

The film captures the daily duality of three young Palestinian women in Tel Aviv, caught between hometown tradition and big city abandon, and the price they must pay for a lifestyle that seems obvious to many: the freedom to work, party, fuck, and choose.

신나는 여름 방학을 보내기 위해 절친인 ‘레이첼’과 이스라엘 텔아비브로 여행을 계획한 ‘사라’. 딸의 여행을 기념해 아빠는 구글 글래스까지 선물한다. 사라와 레이첼은 기내에서 만난 여행 전문가이자 인류학과 고대 문명에 관심 많은 훈남 ‘케빈’의 조언으로 즉흥적으로 여행 경로를 바꿔 함께 예루살렘을 가게 된다. 여행 기간 중 예루살렘 곳곳에서 미스터리한 사건 사고가 발생하게 되지만 사라와 레이첼은 아랑곳하지 않고 관광객으로 일탈과 광란의 밤을 즐긴다. 그러던 중 예루살렘에 관련된 미신과 다크 엔젤, 네피림, 언데드 등의 전설을 파헤치던 케빈이 ‘속죄일’이 끝나기 전 예루살렘을 떠나야 한다고 종말론을 주장 하다가 ‘예루살렘 증후군’으로 의심받아 격리되는 사건이 발생한다. 불길한 나날 속에 드디어 사라와 레이첼이 이스라엘에서 텔아비브로 가기 하루 전날이자 속죄일 밤, 갑작스러운 폭격과 함께 예루살렘 구도시의 문들이 하나씩 통제되며 격리되기 시작한다. 순식간에 도시는 악령에 씌인 좀비들의 공격으로 인해 아비규환이 되고 한 치 앞도 예측할 수 없는 죽음이 서바이벌 사투가 벌어지는데!

In this tough and tender punk-rock romance, Noa and Orr have just one more night to spend together in Tel Aviv before Orr leaves for Berlin. But, as is so often the case, the passions and ideals of youth may be imperilled by adulthood's tough emotional truths and knotty ethical dilemmas.

The trial story of Viviane Amsalem's five year fight to obtain her divorce in front of the only legal authority competent for divorce cases in Israel, the Rabbinical Court.

The year is 1964. Rachel Brener is one of 3 young Mossad agents teem who caught "THE SURGEON OF BIRKENAU" - a Nazi monster who was never brought to trial in Israel. The official reason was that he was shot to death while trying to escape from Israeli captivity in a safe house somewhere in Europe. 30 years after, the well communicated death story of the monster could be questionable, a small article appears in a local unimportant paper in a small town in Ukraine. Surprisingly the Surgeon is ALIVE and is willing to admit his crimes against the human race and especially the Jews. The 3 older x Mossad agents who are in their late 60th became aware to this unfortunate threatening knowledge. The fact was that the "Surgeon" managed to escape from his guards 30 years ago.

In Jerusalem, between the west bank and the east bank, lies a promenade which serves as a border line between the Jewish neighborhoods and the Palestinian ones. To the wanderers on both sides, the view posed along its length is a view of the conflict (from the separation wall, through the Palestinian neighborhoods and reaching the Temple Mount). Turning back to the landscape, and observing the Israeli people overlooking it, the film turns the promenade into a "canvas" on which the Israelis celebrate its confused identity - between the day-to-day and the national holidays, between the flowers and the memorial monuments.