Stav Meron Morag

Following an illegal foreclosure order issued against his partner, Attorney Barak Cohen started a fight against the heads of the banking system, and created a new model of civil resistance demanding personal responsibility from the decision makers. The public uproar caused by the campaign led the heads of the banks, the attorney's office and the police to try to stop the activity of Barak and his friends in any way possible. The culmination of this attempted silencing was the "trial of the bankers" which included serious charges, as if taken from the world of organized crime. Barak and his friends did not panic and turned the trial into a serious indictment against the heads of the banking system, a move that was hailed as a resounding success and has since inspired all civil struggles in Israel.

Anat Gov, one of the most influential playwrights in Israeli theatre, is preparing for her death. She asks Arik Kneller, an artists' agent, to be the executor of her will. Arik struggles to accept the humor and serenity with which she faces her upcoming end. Anat, consciously accepting her nearing end, wishes to leave a spiritual legacy: there can be a happy ending. Almost a decade after her death, her loved ones try to fill the void left by her words with their own. Through excerpts from her plays and footage of her family and political world, a new script is written: one in which the line between the play and reality is blurred.

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.

A young woman attends an art opening, desperately trying to fit in. She puts on audio-guide headphones and observes the exhibit. Suddenly, the narrator starts giving her wild instructions until she does the unspeakable.

When Filipina stay-at-home nurse Christie disappears, Araleh is forced to help his brother tend to their dying father. Trying to protect himself, he begins scattering white lies, which only bring closer the inevitable end they all feared.

I Am Ahmad, a 1966 13 min. revelatory short, was originally censored before its stormy release. Fifty years later, top Arab and Jewish alumni of the Jerusalem Sam Spiegel Film School conduct a poignant dialogue about “today’s Ahmad”, contending with questions of the impossible coexistence between Palestinian citizens of Israel and Jews that is rapidly deteriorating. Comprised of six chapters, the feature film is political, activist and fistful, mirroring a torn Israel. Yet, Voice of Ahmad is at times also funny, poetic and sarcastically utopian.