Cinematography
An ordinary funeral procession moves along its path from church to cemetery. Observing, you slip from reality into a place where time has lost its linearity, looping through the odd images thrown off by a distorted reality. Images of non-existence, of varying reflections of death issuing from both past and future, concrete yet abstract, horrible yet desirable. A family asks a young psychiatrist to be their guest for a while to untangle the circumstances of their father's illness. He's developed a suicidal fixation for ropes and knots among other things. While deeply involved in analyzing the patient's delirium, the doctor begins to lose track of what is taking place. The task of "how to help" is twisted into "who am I? Doctor or patient? Chance guest, member of this suffering family, or a catholic priest who has dreamed this all up?" In order to get a handle on it all, it's best to start from the beginning, but why do things keep shifting, changing?
Camera Operator
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.
Director of Photography
Masculine and feminine, hard and soft, continuous and interrupted, whole and fragmented. All that is encompassed by just one day at the factory.
