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 Found footage, unpublished interviews with cinema and television personalities, fragments of films, extracts from television programs, photographs, readings and interventions by the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.

На протяжение одной ночи встречаются самые разные люди – евреи, мусульмане, гомосексуалисты, гетеросексуалы, трансвеститы и три женщины, ищущие убежища от издевательств и хамства мужчин. Клуб в портовом городе Хайфа – последнее прибежище, где израильтяне и палестинцы могут встречаться и общаться друг с другом.

На протяжение одной ночи встречаются самые разные люди – евреи, мусульмане, гомосексуалисты, гетеросексуалы, трансвеститы и три женщины, ищущие убежища от издевательств и хамства мужчин. Клуб в портовом городе Хайфа – последнее прибежище, где израильтяне и палестинцы могут встречаться и общаться друг с другом.

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.

Сюжет фильма рассказывает историю убийства премьер-министра Израиля Ицхака Рабина, у которого забрал жизнь молодой парень, представляющий радикальное движение. После этого в стране начались новые неприятности, поскольку расследование резонансного преступления приостановило и без того сложный этап переговоров о мире с палестинцами. Представителям правоохранительных органов стало известно, что Рабин имел множество пугающих тайн, которые были пропитаны истеричной риторикой, паранойей и политическими интригами. Собственно говоря таких секретов хватает у множества людей, связанных с миром политики, но что именно скрывал Рабин?...

Сюжет фильма рассказывает историю убийства премьер-министра Израиля Ицхака Рабина, у которого забрал жизнь молодой парень, представляющий радикальное движение. После этого в стране начались новые неприятности, поскольку расследование резонансного преступления приостановило и без того сложный этап переговоров о мире с палестинцами. Представителям правоохранительных органов стало известно, что Рабин имел множество пугающих тайн, которые были пропитаны истеричной риторикой, паранойей и политическими интригами. Собственно говоря таких секретов хватает у множества людей, связанных с миром политики, но что именно скрывал Рабин?...

Сюжет фильма рассказывает историю убийства премьер-министра Израиля Ицхака Рабина, у которого забрал жизнь молодой парень, представляющий радикальное движение. После этого в стране начались новые неприятности, поскольку расследование резонансного преступления приостановило и без того сложный этап переговоров о мире с палестинцами. Представителям правоохранительных органов стало известно, что Рабин имел множество пугающих тайн, которые были пропитаны истеричной риторикой, паранойей и политическими интригами. Собственно говоря таких секретов хватает у множества людей, связанных с миром политики, но что именно скрывал Рабин?...

Сюжет фильма рассказывает историю убийства премьер-министра Израиля Ицхака Рабина, у которого забрал жизнь молодой парень, представляющий радикальное движение. После этого в стране начались новые неприятности, поскольку расследование резонансного преступления приостановило и без того сложный этап переговоров о мире с палестинцами. Представителям правоохранительных органов стало известно, что Рабин имел множество пугающих тайн, которые были пропитаны истеричной риторикой, паранойей и политическими интригами. Собственно говоря таких секретов хватает у множества людей, связанных с миром политики, но что именно скрывал Рабин?...

В альманахе раскрываются отношения людей разных религий с Богом.

В альманахе раскрываются отношения людей разных религий с Богом.

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.

Подлинная история женщины-еврейки, пережившей Катастрофу, приехавшей в Израиль, вышедшей замуж за араба и принявшей ислам. Её называли Ана Арабия (Ана-арабка).

Подлинная история женщины-еврейки, пережившей Катастрофу, приехавшей в Израиль, вышедшей замуж за араба и принявшей ислам. Её называли Ана Арабия (Ана-арабка).

Подлинная история женщины-еврейки, пережившей Катастрофу, приехавшей в Израиль, вышедшей замуж за араба и принявшей ислам. Её называли Ана Арабия (Ана-арабка).

В этом киноальманахе самые известные и самые молодые фестивальные режиссёры мира объединились, чтобы отпраздновать семидесятилетний рубеж одного из самых влиятельных фестивалей кино. Каждому режиссёру в рамках полутора минут была дана возможность изобразить свой неповторимый стиль на экране и по-своему признаться в любви кинематографу.

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.

В него вошли 34 киноновеллы всемирно известных режиссеров из 25 стран и 5 континентов. Каждый попытался создать свое неповторимое кино. Все эти мини-фильмы, продолжительностью 3—4 минуты, в той или иной степени связаны общей темой: кино в современном мире

В него вошли 34 киноновеллы всемирно известных режиссеров из 25 стран и 5 континентов. Каждый попытался создать свое неповторимое кино. Все эти мини-фильмы, продолжительностью 3—4 минуты, в той или иной степени связаны общей темой: кино в современном мире

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, an American who has been living in Jerusalem for a few months now, has just broken off her engagement. She gets into a cab driven by Hanna, an Israeli. But Hanna is on her way to Jordan, to the Free Zone, to pick up a large of sum of money.

Rebecca, an American who has been living in Jerusalem for a few months now, has just broken off her engagement. She gets into a cab driven by Hanna, an Israeli. But Hanna is on her way to Jordan, to the Free Zone, to pick up a large of sum of money.

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.

"Promised Land" tells the story of a group of young unwitting Estonian girls smuggled through Egypt to be auctioned off as prostitutes in Israel, and of their initiation into this trade of flesh, and finally of the accidental freeing of one girl who most fight for her freedom.

"Promised Land" tells the story of a group of young unwitting Estonian girls smuggled through Egypt to be auctioned off as prostitutes in Israel, and of their initiation into this trade of flesh, and finally of the accidental freeing of one girl who most fight for her freedom.

Life in a Tel Aviv apartment complex, an urban mosaic whose seedy characters, try as they might, can't get out of one another's faces. Gabi, a bobbed haired sexpot, and her lover Hezi—who's older, balding and married—rent a room to have an affair, while Ezra, a pot bellied divorcee, supervises an illegal construction site next door. All this racket drives Schwartz, a Holocaust survivor, to a mental breakdown. Other characters include illegal Chinese immigrants, a teenage boy who's afraid to serve in the army, and a corrupt police detective.

Life in a Tel Aviv apartment complex, an urban mosaic whose seedy characters, try as they might, can't get out of one another's faces. Gabi, a bobbed haired sexpot, and her lover Hezi—who's older, balding and married—rent a room to have an affair, while Ezra, a pot bellied divorcee, supervises an illegal construction site next door. All this racket drives Schwartz, a Holocaust survivor, to a mental breakdown. Other characters include illegal Chinese immigrants, a teenage boy who's afraid to serve in the army, and a corrupt police detective.

11 режиссеров представляют свой взгляд на трагическое событие, случившееся в Нью-Йорке 11 сентября 2001 года.

11 режиссеров представляют свой взгляд на трагическое событие, случившееся в Нью-Йорке 11 сентября 2001 года.

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.

In 1939, Kalman, an ambitious young businessman, leaves Europe to join his sister Samantha in Palestine. She lives with Dov, an idealistic architect obsessed with the Bauhaus style. With their friends, they form a group, which discusses the future Israeli State.

In 1939, Kalman, an ambitious young businessman, leaves Europe to join his sister Samantha in Palestine. She lives with Dov, an idealistic architect obsessed with the Bauhaus style. With their friends, they form a group, which discusses the future Israeli State.

In 1939, Kalman, an ambitious young businessman, leaves Europe to join his sister Samantha in Palestine. She lives with Dov, an idealistic architect obsessed with the Bauhaus style. With their friends, they form a group, which discusses the future Israeli State.

6 октября 1973 года. Два молодых человека едут на войну ("война Судного Дня" - Израиль против Сирии и Египта). Один - патриот, хочет поучаствовать во "взрослом деле" и едет на войну с радостью, которая впоследствии исчезает. Другой - молодой человек с жилкой теоретика, начитавшийся Маркузе: по дороге на фронт в своём стареньком "Фиате" он рассуждает о том, как избавиться от ненужных стремлений и не покупать модных машин, навязываемых рекламой. Но, оказавшись пушечным мясом, молодые люди забывают и о патриотизме, и о рекламе, к которой лучше не прислушиваться.

6 октября 1973 года. Два молодых человека едут на войну ("война Судного Дня" - Израиль против Сирии и Египта). Один - патриот, хочет поучаствовать во "взрослом деле" и едет на войну с радостью, которая впоследствии исчезает. Другой - молодой человек с жилкой теоретика, начитавшийся Маркузе: по дороге на фронт в своём стареньком "Фиате" он рассуждает о том, как избавиться от ненужных стремлений и не покупать модных машин, навязываемых рекламой. Но, оказавшись пушечным мясом, молодые люди забывают и о патриотизме, и о рекламе, к которой лучше не прислушиваться.

6 октября 1973 года. Два молодых человека едут на войну ("война Судного Дня" - Израиль против Сирии и Египта). Один - патриот, хочет поучаствовать во "взрослом деле" и едет на войну с радостью, которая впоследствии исчезает. Другой - молодой человек с жилкой теоретика, начитавшийся Маркузе: по дороге на фронт в своём стареньком "Фиате" он рассуждает о том, как избавиться от ненужных стремлений и не покупать модных машин, навязываемых рекламой. Но, оказавшись пушечным мясом, молодые люди забывают и о патриотизме, и о рекламе, к которой лучше не прислушиваться.

Фильм - не о жизни в иешиве, а об отношениях веры и того, что ей противостоит - догмы.

Фильм - не о жизни в иешиве, а об отношениях веры и того, что ей противостоит - догмы.

Фильм - не о жизни в иешиве, а об отношениях веры и того, что ей противостоит - догмы.

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.