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THE BARBECUE PEOPLE

TITLE: THE BARBECUE PEOPLE / HAMANGALISTIM
YEAR: 2002
DIR/PROD: Yossi Madmon, David Ofek / Lior Sheffer, Micha Shagrir
COUNTRY: Israel
LANGUAGE: Hebrew w. English ST
TIME: 102
SOURCE: Sheba Communications, Jerusalem
TEXT: A family of immigrants from Iraq, Independence Day 1988, during the first Intifada. The family is having a barbecue atop a green hill in a small working class town. This is the framing story of the film, from which various stories emanate, intersecting and shedding light on one another. The mother's teenage sweetheart appears at the beginning of the film and sets the plot in motion. The children find themselves dragged into an absurd story of suspense centering around the murder of an Israeli porno actress in New York. Below the green hill upon which the great feast occurs was an advance position of the War of Independence; next to it, an Arab village. The village no longer exists and its inhabitants exiled. The past is covered up by the present, but it is ever-present. "The film was created based upon personal and political feelings that our present actions and experience are a thin veneer hiding the past… Our parents' past, their language, their suffering, are part of us. The past of the place to which our parents arrived and where we live affects our present reality. Beneath every reality - bright, colorful and calm as it may appear - other forces are operative. Without understanding them, our grasp of ourselves and of our reality can not be complete." Stars: Victor Ida, Raymond Abecassis, Makram Khoury, Israel Brite, Dana Ivgi, Gili Sa'ar, Yigal Adika. Jerusalem Film Festival.

RAILROAD OF HOPE

TITLE: RAILROAD OF HOPE / XI WANG ZHI LU
YEAR: 2001
DIR/PROD: Ning Ying
COUNTRY: China
LANGUAGE: Mandarin, English subtitles
TIME: 56
SOURCE: Eurasia Communications Ltd., Beijing Carte Blanche - Vivian Ostrovsky
TEXT: Every year in August and September several thousand peasants-men, women and children-leave the Sichuan Province in the heart of China and embark on train line 96, on a 3,000 kilometer journey westward toward the autonomous Xinjiang province. There, in the giant country's more developed region, endless cotton fields await the poor agricultural workers hoping to increase their family income. For many, this is their first train ride. For some, this will be their first experience away from their natal village. Ning Ying's new film sheds light for the first time upon a relatively recent phenomenon in China: internal migration. She set out to document the three day and two night railroad journey, and only after the journey began did it become clear that her focus would be on those thousands of migrant farmers. The result is a rare, primal look at the lives of Chinese peasants. Men and women speak openly and very frankly about their lives-difficulties, desires, expectations, hopes-what is happening in their native villages and what they may find at their destination. It becomes clear that while the primary motivation for many is economic, more than a few turn out to be adventure-seekers, searching for broader horizons and new experiences. Railroad of Hope is a simple and unpretentious film that, through a digital camera, successfully captures an exciting and realistic picture of migration in this enormous country.

HUMAN WEAPONS / HANESHEK HA'ENOSHI

TITLE: HUMAN WEAPONS / HANESHEK HA'ENOSHI
YEAR: 2002
DIR/PROD: Ilan Ziv / Amit Breuer, Madelaine Avramoussis, Luc Gosse Martin
COUNTRY: France/Germany/Israel
LANGUAGE: English, Arabic, Farsi and Hebrew, English subtitles
TIME: 55
SOURCE: Amythos Films, Tel Aviv
TEXT: The film offers the first in-depth analysis of the complexities of the phenomenon of suicide-bombing. Human Weapons does not deal with suicide bombings on the local level of a specific conflict, attempting instead to understand and analyze the history of the phenomenon and see how this new weapon led to a new kind of warfare, whose influence will continue to be felt in the future. Human Weapons is the product of research conducted world-wide, combining fascinating personal stories and images never before seen: interviews with fighters and activists, leaders of organizations that have adopted suicide bombings as part of their strategy, propaganda materials utilized by such terrorist organizations, victims and their and families, researchers and analysts from around the world. The film was shot in Iran, Lebanon, Sri Lanka, Israel, the Palestinian Authority, Europe and the US.

MIKE BRANT-LAISSE MOI T'AIMER

TITLE: MIKE BRANT-LAISSE MOI T'AIMER
YEAR: 2002
DIR/PROD: Erez Laufer / Dalia Migdal, Boaz Piper, Erez Laufer
COUNTRY: Israel
LANGUAGE: Hebrew and French, English subtitles
TIME: 100
SOURCE: Erez Laufer Films, Tel Aviv OR Ruth Diskin Films Ltd. , 8 Tverya Street, Jeruslaem 94543. tel 972 2 6222 086 Fax 972 2 625 6047 RuthDis@netvision.net.IL OR cinephil
TEXT: Winner of the Best Documentary 2002 in Israel. Mike Brant was found on the sidewalk of Rue Erlanger in Paris' 16th Arrondissement on Friday morning, April 25, 1975. He lay on his back, with his face to the sky, in a blue shirt, barefoot, whole outside but shattered within. He was 28 at the time of his death. Born in a displaced persons camp in Cyprus, Moshe Brandt grew up in Haifa. During his youth, he was a star in Haifa's Rondo Club and later began performing in Tel Aviv. In a Teheran nightclub he met French pop stars Carlos and Sylvie Vartan who invited him to Paris. Without knowing a word of French, in a short period he became one of the outstanding stars of the French pop industry of the early 1970s. His records were sold in millions of copies, his hits were heard on radio stations across Europe and in Canada and reached the top of the charts. Then came an unexpected turn. Or was the story of his life a chronicle of a suicide foretold? A story of injustice, power, lots of money, and murdered innocence. Mike started out writing his songs and hoping to be presented to the public as a singer-songwriter and not as a cover-boy. The story embodies the conflict between the will to succeed and the price that Moshele was willing to pay. The film combines archival footage and rare radio recordings.

APARTMENT #5C

TITLE: APARTMENT #5C
YEAR: 2002
DIR/PROD: Raphael Nadjari / Alain Sarde, Marin Karmitz, Geoffroy Grison
COUNTRY: France/Israel/USA
LANGUAGE: English
TIME: 93 minutes
SOURCE: Cinema Factory, Tel Aviv
TEXT: Shown at Cannes and Jerusalem. Stars Tinkerbell, as well as Ori Pfeffer, Richard Edson, Jeff Ware, Olga Meredith. Uri and Nicky left Israel and moved to New York to try their luck. In Manhattan, they live in cheap hotels and make a living from very petty theft, eventually finding a tiny apartment in a seedy Brooklyn neighborhood. Max is the building's cynical wheelchair-bound superintendent. His mild-mannered brother-in-law, Harold, takes care of all of the maintenance work in the building. One evening, during a heated argument, Nicky accidentally shoots herself in the leg. Uri flees in fear and Harold goes to help the wounded young woman. Despite Max's reluctance, Harold takes care of her, has her treated and even finds her a normal job. What begins as human assistance gradually turns into a much more significant relationship... Like his previous film, I Am Josh Polonsky's Brother (JFF 2001), Raphael Nadjari's new film was made without a script and through improvisations and eliminations that continued well into the editing process. The creative freshness is expressed in the visual aspects of the film as well, characterized by rough camera work and the location: one of New York's less glamorous neighborhoods. John Surman's blues soundtrack provides the perfect counterpoint to the performance of Tinkerbell-who has exported all of the qualities that turned her into a leading actress here, to the US. The end result was included in the acclaimed framework of the "Quinzaine des Realisateurs" at the 2002 Cannes Festival

EDEN

TITLE: EDEN
YEAR: 2001
DIR/PROD: Amos Gitai / Amos Gitai, Regine Konckier, Jean-Luc Ormieres
COUNTRY: Israel/France/Italy
LANGUAGE: English
TIME: 90
SOURCE: Agav Productions Ltd., Tel Aviv
TEXT: Based on the novel Homely Girl by Arthur Miller. Music by Ihab Nimer and Gustav Mahler. Stars Samantha Morton, Thomas Jane, Luke Holland, Arthur Miller. 1939. Kalman, a young, determined and ambitious Jewish entrepreneur, decides to leave his ailing father and go to Palestine to join his sister Samantha, whom he hasn't seen for years. Samantha is living with Dov, a similarly idealistic young architect who is totally absorbed in the work of Walter Gropius. In her spare time, she assists the brilliant professor Oscar Kalkofsky, whose thoughts on an Israeli nation are couched in terms of a collaboration with the Arabs. Then there is the headstrong Sylvia, a young woman who sees the future in slightly different terms. Within these five characters reside very different views on the future of an independent Israel. The war raging in Europe draws inevitably closer and will forever change their lives. For his first English-language film, Amos Gitai has chosen to adapt an Arthur Miller novel (and managed to persuade Miller to play one of the key roles). Gitai was born in Haifa in 1950. He studied architecture at the Haifa Technion and the University of California at Berkeley, and has been a prolific director of award-winning documentaries and features since the seventies. Says Gitai: "The finished film offers an approach that is between ideology and sensuality, which is the central theme of Miller's novel. It is also contemplation of a subject that has always interested me: how a handful of individuals find themselves "trapped" by History with a capital H." Shown at Festivals: Venice and Jerusalem.

IN THE NINTH MONTH / BAHODESH HATSHI'I

TITLE: IN THE NINTH MONTH / BAHODESH HATSHI'I
YEAR: 2002
DIR/PROD: Ali Nasser
COUNTRY: Israel
LANGUAGE: Arabic, Hebrew and English ST
TIME: 108
SOURCE: Sanabil Productions, Ltd., Arabeh
TEXT: "The film speaks of a folk legend that spread through the Arab villages during the days of the Turks. The legend tells of a man who sneaks into the alleys of the village by night wearing a black robe, kidnaps children and sells them to the Jews. I believed this story like the other children and adults. The tragic political reality was fertile ground for such beliefs. Thus, fantasy and reality got mixed together and turned into our lives, a tale of wonders. Residents of the village are worried in their search for a disappeared child. Ahmad, with his strange manners and black dress, is suspected of being the kidnapper. There is good reason for his behavior - his brother Khalil, a refugee from Lebanon, has just sneaked into the village - but revealing it would threaten his life and the lives of those around him. Ahmad is exiled from the village to live alone with his secret. Khalil comes to visit his family and his wife Samira, who was torn from him by the war immediately following their wedding. Ahmad and Samira are living the consequences of the occupation of the land and the occupation of the soul. Buried under the legend, the characters are brought to life in an imaginary reality. The birth of Khalil and Samira's son Amal ("Hope"), the fruit of their great love, transcends all imagination and reality. Music: Bshara Alkhil Stars: Ashraf Brhoum, Nissrin Faour, Wisam Nassar, Juliano Mar Khamees, Raida Adoon, Salwa Nakara, Mahmoud Awad, Mahmoud Abu Jazi, Adnan Varabshi, Ahmad Abu Saloum, Amos Lavi, Bassam Zomut

ELSEWHERE

TITLE: ELSEWHERE
YEAR: 2001
DIR/PROD: Nikolaus Geyrhalter
COUNTRY: austria
LANGUAGE: English
TIME: 240 minutes (4 hours)
SOURCE: Austrian Film Commission, Vienna
TEXT: Documentary. Elsewhere is "a question of point of view" according to Nikolaus Geyrhalter. For an entire year, from January-December 2000, the Austrian director traveled to remote locations, filming three weeks at a selected destination, resting one week in Vienna, then moving on to the next destination. The result is a cinematic journey consisting of a dozen segments, 20 minutes each, that take place in diverse and unusual corners of the globe-places whose inhabitants exist far from western civilization and still maintain traditional ways of life, despite the ongoing penetration of western trappings in their daily lives. All of the stories are presented in a variety of languages with names like Tamashek, Sami, Ojihimba, Korowai, Kalaalisut, Kunwinjku, Khanti, Moso, and others. It begins with women of the Tuareg tribe in Niger, speaking about their children and camel-riding spouses. Later, we visit reindeer herders in Lapland; the tribal administrator in Namibia and his wives; members of the Indonesian equatorial tribe whose ancestors were cannibals; members of the Inuit people of Greenland; Australian aborigines who, alongside their traditional pastimes, have discovered the magic of computer games; a woman from Laddakh who agonizes over what she once did to animals; a Siberian deer-herder who complains about the wilderness being sacrificed to oil fields; members of a Han tribe in China, where each marriage partner remains with their original family; fishermen in Sardinia; and finally, a bear-breasted teacher in Micronesia. Festivals: Amsterdam, Thessaloniki , Jerusalem

WAILING WALLS / HOMOT

TITLE: WAILING WALLS / HOMOT
YEAR: 2002
DIR/PROD: Tor Ben Mayor, Yehuda Litani / Dan Setton
COUNTRY: Israel
LANGUAGE: Hebrew and English, English subtitles
TIME: 49
SOURCE: Set Productions, Jerusalem
TEXT: Documentary. In Jerusalem, the walls were torn down; In Belfast, capital of Northern Ireland, the fences were also torn down, but both cities remained divided. While the Israeli-Palestinian conflict rages at high intensity, the Irish conflict appears to be coming to an end. Wailing Walls is a journey to that other conflict. Director Tor Ben Mayor and journalist Yehuda Litani speak with the inhabitants and meet, among other people, a former member of the Protestant underground, the widow of a high-ranking IRA officer; Catholic author Kiran Carson, who grew up in a violent neighborhood in Belfast and who spends his life fighting against the symbols, flags and barriers that divide. Even today, following the 1998 agreement, the tension between the two communities remains: Molotov cocktails and stones are thrown, but the lessons of the past have been learned-the police no longer shoot to disperse violent demonstrations. In Northern Ireland, like here, people still have their dreams. The Catholics dream of a greater, united Ireland, the Protestants of the continued rule of Britain. But there, the violent conflict has been channeled into a diplomatic and political process. The film is part of a series entitled "Circles of Malice". The other segments are filmed by an Irish director in Israel, a Palestinian director in South Africa and a South African director in the Palestinian Authority. Each of the directors examines the conflict of the other.

PURIM

TITLE: PURIM
YEAR: 2002
DIR/PROD: Lavi Ben Gal / Udi Caspi
COUNTRY: Israel
LANGUAGE: Hebrew, English ST
TIME: 80
SOURCE: Jazz Productions, Bat Yam, for the Department of Film, Beit Berl College, Israel
TEXT: PURIM Stars: Liron Levo, Liat Glik, Alon Dahan, Lior Miler, Marina Shoyof, Shmuel Edelman, Eli Ben-David, Ahmad Kundis, Bumi Lazar, Rami Shtern, Rotem Goltzman. DOCUMENTARY. Against the background of preparations for the Purim carnival and the alert against possible terror attacks, several stories are interwoven: a young Arab who doesn't want to die is sent to carry out a suicide bombing in the heart of Tel Aviv, but can't find the place where he is supposed to blow himself up; a pair of actors planning to move to New York must deal with their daughter's injury in a terror attack; a love story between a student working as a security guard at a hospital and a Russian nurse debating whether to return to her husband and son in Russia; a Holocaust survivor spends all day in his basement tailor shop trying to preserve his past; a divorced and frustrated doctor goes across town searching for a cowboy costume for his spoiled son; a chubby plumber becomes the hero of the day when he saves a girl in a terrorist bombing. This film is a human mosaic that examines how terror affect us. Who are we? What do we have in common? What is our link to our culture, language and history? This is a film about Purim, which has been the fate of the Jews ever since the lot was drawn during the days of Ahasuerus. Purim: Israeli identity behind a brilliant costume; Purim: a holiday for children, a festival of joy and pain, a celebration without God

GOD'S SANDBOX – TAHARA

TITLE: GOD'S SANDBOX / TAHARA
YEAR: 2002
DIR/PROD: Doron Eran / Yoav Halevy
COUNTRY: USA
LANGUAGE: Hebrew, English & Arabic, English & Hebrew subtitles
TIME: 90
SOURCE: Open Door Films, Tel Aviv
TEXT: Based on the novel Serus by Dr. D. Zilberman. Original Music: Arik Rudich Stars: Juliano Merr, Razia Israeli, Meital Duan, Orly Perel, Sami Samir, Amos Lavi, Amnon Fisher, Lutuf Noaiser. Liz, a successful author, arrives at a beach in the magical Sinai Desrt in search of her daughter Rachel who ran away. Liz decides to stay at the beach despite her daughter's objections and meets with a Bedouin storyteller. It is here that she learns of the unusual love story of Leila - a Western tourist - and Najim, the son of a Bedouin Sheik. This extraordinary love story that took place many years before on the same exotic beach, led to the expulsion of Leila and Najim from his tribe. While wandering alone in the desert, Leila witnesses the traumatic female circumcision ceremony that horrifies her and shatters the love story. Liz, captivated by the love story, undergoes a journey of psychological torment, during which her daughter Rachel discovers surprising facts about her mother's life.

TODAY YOU ARE A FOUNTAIN PEN

TITLE: TODAY YOU ARE A FOUNTAIN PEN
YEAR: 2002
DIR/PROD: Dan Katzir
COUNTRY: USA
LANGUAGE: English
TIME: 28
SOURCE: Dan Katzir, Los Angeles
TEXT: Stars: Len Lesser, Quinn Meyers. The Berlin Wall was falling down. My Grandpa, who grew up in Berlin, is glued to the TV, talking to me about history. I couldn't care less. I was almost thirteen years old, three days before my Bar Mitzvah and the only kid without a BMX bike

MY TERRORIST / HAMEHABEL SHELI

TITLE: MY TERRORIST / HAMEHABEL SHELI
YEAR: 2002
DIR/PROD: Yulie Cohen Gerstel / Esther van Messel
COUNTRY: Israel
LANGUAGE: Hebrew and English, English and Hebrew subtitles
TIME: 58
SOURCE: Yulie Cohen Gerstel, Tel Aviv
TEXT: Original Music by Tal Segev. The 1970s. A good girl from a good neighborhood, who dreams of being an officer in the Israeli Defense Force, who is proud and a great patriot. She gets shot and wounded in 1978 in a terrorist attack by The Popular Front for the Liberation of Palestine on an El Al flight crew in London. Now the girl has grown to be a woman, and today she has her own daughters. She is afraid to let them go out, afraid that they will run into a Palestinian suicide bomber. Now, Israeli Patriotism for her means to try reconciling with the terrorist who shot her 22 years earlier, and who is still serving his sentence in a UK prison. Yulie, the woman in the film and its director, looks at Israel's history in her lifetime, only to discover that the language of hatred is the only one spoken there by all people. In a climate of violence and hatred, where the entire world is zealously trying to fight terrorism, she meets a bereaved mother who has lost her daughter in a car bomb. The pain and the fear Yulie is faced with shatter her world. Will she still be able to write a supporting letter for her terrorist for his parole committee?

Uprising

TITLE: Uprising
YEAR: 2001
DIR/PROD: John Avnet / John Avnet, Raffaella De Laurentiis
COUNTRY: USA
LANGUAGE: English
TIME: 120
SOURCE: Warner Brothers, Los Angeles
TEXT: Stars: Leelee Sobieski, Hank Azaria, David Schwimmer, Jon Voight, Donald Sutherland, Cary Elwes, Mili Avital. In the autumn of 1939, the Nazi army occupied Poland. Mordechai Anielewicz is a Zionist idealist who dreams of settling the Land of Israel, and who attempts to smuggle as many Jews as possible from the country. After the creation of the Warsaw Ghetto, he and a group of friends organize a resistance organization, under the nose of the Nazis and the Jewish council they selected. As time passes, more and more residents of the Ghetto join him. A series of battles between the fighters and the Nazis ensued throughout the continuing months, culminating in the famous uprising of April 19, 1943, which has become known as a watershed moment of resistance in Jewish history. It is not easy to create a successful drama based upon a topic as complex as the Holocaust, and more difficult still for one of the most famous acts of heroism of World War II. Avnet is a veteran producer and director of film and television, remembered in particular for Fried Green Tomatoes. His new film meets the challenge and deals with the story of the Warsaw Ghetto uprising through a very realistic approach, while attempting to recreate the atmosphere of that period and the struggles of the leadership, without bypassing moral and philosophical questions. A large part of the success is to the credit of the cast of stars and the impressive recreation of the atmosphere of the period

CLOSE.CLOSED.CLOSURE

TITLE: CLOSE.CLOSED.CLOSURE
YEAR: 2002
DIR/PROD: Ram Loevy SEGER
COUNTRY: Israel/France
LANGUAGE: Hebrew and Arabic, English subtitles
TIME: 60
SOURCE: First Run Features Marc Mauceri/Seymour Wishman 153 Waverly Place New York, NY 10014 212-243-0600 Fax: 212-989-7649 or Jonathan Miller 32 Court Street, 21st floor Brooklyn, NY 11201 718- 488-8900 Fax: 718-488-8642
Or Ram Loewy Communications Ltd., Tel Aviv
TEXT: The film opens with a pair of prosthetic legs lying on a straw mat and ends with a kite bearing an image of Spiderman. Between these two images, an Israeli-Palestinian film crew presents the story of two populations on either side of the electronic fence that surrounds the largest prison in the world: the Gaza Strip. 288 sq. km. with over 1,100,000 prisoners and six gates for entering supplies and the exit of prisoners on good behavior. Some 70 sq. km. more of the Strip is occupied by some 7,500 Jewish settlers. Lacking natural resources and being one of the poorest regions in the world, the economy of Gaza is tragically linked to its enemy, Israel. Since 1991, the closure has intensified. From Israel's point of view, this is to prevent terrorism. For Palestinians, this is a collective punishment that has become one of the main causes for the increase in the circle of animosity and terrorist attacks. The film begins during the optimistic days of the peace negotiations. A flow of workers and goods linked the two hostile societies and guaranteed a growing connection between them. Beneath the surface, bitterness and anger provided indications of the coming conflagration. The film ends in June 2002, in the midst of atrocity. It asks whether we can understand the situation while ignoring the context and the symbols that feed the bonfire of war

KOSHER REVENGE

TITLE: KOSHER REVENGE
YEAR: 2001
DIR/PROD: Nachumi Luz
COUNTRY: ISRAEL
LANGUAGE: Hebrew w/ English ST
TIME: 19
SOURCE: Sam Spiegel School of Film & Television, Jerusalem
TEXT: W: Aviel Russo, Netta Garti, Yonni Ziholtz. The choir of a religious school is preparing for a television appearance. Rehearsals are in full swing, but David the conductor throws Shaul the soloist nerd and beautiful Nurit out of the choir. They both decide to take their revenge on David.


WALKING A TIGHT-ROPE

TITLE: WALKING A TIGHT-ROPE
YEAR: 2001
DIR/PROD: Tomer Aviram
COUNTRY: ISRAEL
LANGUAGE: Hebrew w/ English ST
TIME: 29
SOURCE: Beit Berl School of Arts, the Film Department, Kfar Sabba
TEXT: W: Simon Rosenfeld, Grace Shoshner, Shmuel Wolf. In a strange, dark world, people are looking for a little warmth, sympathy and understanding. And so, a man, too afraid to alone, desperately clings to a defective relationship with a cold, stone-hearted woman.


balbala

TITLE: BALBALA
YEAR: 2001
DIR/PROD: Alon Alsheich
COUNTRY: ISRAEL
LANGUAGE: Hebrew w/ English ST
TIME: 22
SOURCE: Sapir Academic College, Israel
TEXT: W: Kobi Doron, Oren Shabo, Moki. Trance DJs Tomer and Joe are invited to France to sign a record deal with a French music company, but a day before their trip, their demo is switched with an ethnic music album. In their search after their lost tracks, they find more than what they were looking for.

PEPE'S WRIST WATCH

TITLE: PEPE'S WRIST WATCH
YEAR: 2002
DIR/PROD: Michael Peretz
COUNTRY: Israel
LANGUAGE: Hebrew w/ English ST
TIME: 18
SOURCE: Sam Spiegel School of Film & Television, Jerusalem
TEXT: W.: Gil Permon, Nelly Amar, Gil Ben-David. When Dudu won't wear his old clothes on his birthday, his mother breaks up his birthday party. When he asks his mother not to come into the room in her bra, she hits him. Now he's lost his late father's wristwatch, and he knows exactly what to expect when he gets home. (18 min.)

ROOMATES

TITLE: ROOMATES
YEAR: 2002
DIR/PROD: Pablo Otin
COUNTRY: Israel
LANGUAGE: Hebrew w/ English ST
TIME: 16
SOURCE: Tel Aviv University, Dept. of Film & Television
TEXT: W.: Sallah Bakri, Kobi Shtemberg, Shira Arad. Built from improvisations based on the director's ideas, Roommates deals with Noa, a young Tel-Aviv woman, when her attraction to her new roommate threatens her relationship with her boyfriend. (16 min.)

EFRAIM CUCKOO-RICKOO

TITLE: EFRAIM CUCKOO-RICKOO
YEAR: 2002
DIR/PROD: Itai Mor
COUNTRY: ISRAEL
LANGUAGE: Hebrew w/ English ST
TIME: 19
SOURCE: Tel-Hai College
TEXT: W.: Vladimmir Fridman, Bat=Sheva Noam, Duddik Smaddar, Jacques Cohen. The story of the hen-house battle in Segerra, 1946… Efraim Dollgin set down in the hen-house, started quacking and refused to come out. Mother Genia, raging with shame, sent in Avreima'lle, the neighbor, he flunked. So did Rabbi Baruch, a praised Tiberian slaughter. And Efraim, He kept quacking… Genia Dollgin, threatened to drown in self-pity, decided to act… (19 min.)

DEVIL'S PLAYGROUND

TITLE: DEVIL'S PLAYGROUND
YEAR: 2002
DIR/PROD: Lucy Walker / Steven Cantor
COUNTRY: USA
LANGUAGE: English
TIME: 77
SOURCE: Stick Figure Productions, New York
TEXT: See at Sundance and Jerusalem and Tribeca. DOCUMENTARY. The Amish church was founded during the 17th century in the belief that babies should not be baptized and that only rational adults can decide for themselves to accept Christianity. The rules of the community make it possible for those who have reached age 16 to experience the secular life of the outside "English" world and things that, after the baptism ceremony, will never again be in the realm of their experience. This doesn't mean only wearing jeans, driving or using electricity. During the Rumspringa the youth are free to do anything they please - from sex and drugs to Rock 'n Roll. They run wild in areas that in their adulthood will be regarded as "the devil's playground". This period can last from several months to several years, and at the end the young men and women will choose whether to follow the lifestyle of their forefathers or not. Lucy Walker came to documentary filmmaking after a career in British theater and American TV. With wisdom, sensitivity, and unusual empathy for her subjects, she chooses not to relate to the sensational aspects of this unknown side of Amish society. Rather, she invites the viewers to experience the thoughts of the confused youth who, like others their age, wherever they may be, find it difficult to choose between the ways of their fathers and unrestrained passion, between hormones and common sense

Tehora / PURITY

TITLE: Tehora / PURITY
YEAR: 2002
DIR/PROD: Anat Zuriya/ Amit Breuer
COUNTRY: Israel
LANGUAGE: Hebrew w/ English ST
TIME: 65 Beta video
SOURCE: Ruth Diskin Ruth Diskin Films Ltd. 8, Tverya St. 95453 Jerusalem Israel Phone: 972-2-6222086 Phone: 972-2-6247399 Fax: 972-2-6256047 ruthdis@netvision.net.il OR Amythos, Ltd., Kfar Shemariyahu
TEXT: DOCUMENTARY. Original music: Yonatan Bar Giora. A rare and special look into the world of Jewish religious married life and sexuality, a topic which has hardly been documented: The story of family purification ritual, a hidden path of struggle for religious women in the framework of strict, masculine religious law that shapes the life of a couple and female sexuality. The story of a subtle female rebellion within the religious world, expressed through the personal point of view of the director, Anat Zuriya, and the other women in the film, her friends Natalie, Katie and Shira. Their openness to the camera breaks a profound taboo of silence rooted in two thousand-year-old laws and contemporary social pressures. "It was difficult for me to understand fundamental concepts such as impurity and purity. I did not believe that I was unclean during my period and did not believe that I was pure when I left the heavily chlorinated miqveh. But life with an orthodox husband had given me a rich experience of twenty years of immersion in the miqveh and of twenty years of a different sort of personal and sexual contact. The weight of twenty years of preserving ritual purity is what led to this film". (Anat Zuriya) Jerusalem Film Fest 2002

TURN LEFT AFTER THE MONSTER / AHAREI HAMIFLETSET SMOLA

TITLE: TURN LEFT AFTER THE MONSTER / AHAREI HAMIFLETSET SMOLA
YEAR: 2002
DIR/PROD: Amir Gilad
COUNTRY: ISRAEL
LANGUAGE: Hebrew w/ English ST
TIME: 60
SOURCE: Jazz Productions, Bat Yam; for the Department of Film, Bet Berl College
TEXT: The director writes: This film is about chasing the monsters from our lives. I am about to get married and want my entire family there with me. My parents, who got divorced 20 years ago after an ugly legal battle and have not spoken since; my father, with whom I haven't spoken for 2 years and in whose house in Haifa I have not visited for 10; my maternal grandmother, who doesn't know that her daughter's second marriage has ended in divorce; my dad's dad, and his mom, who doesn't remember who I am and confuses me with my father; my mother's new boyfriend, who she met through the internet and who grandmother must not see at my wedding because, as I mentioned, she still doesn't know that mom got divorced; Dad' s second wife, who has never met my mother; my fianc? Hava's parents, who have not yet met my father; aunts, uncles, cousins and all the rest. I wish to overcome the fear that something of my parents' behavior, from which I seek to escape, is innate in me. Can I live together with a woman and establish a normal family, despite the failure of my parents' marriage and my childhood and teenage years in a dysfunctional family? I want to solve all of my family problems before the wedding and begin a happy married life. But as it turns out, fighting monsters isn't that easy

ILLUSIONS / ASHLAYOT

TITLE: ILLUSIONS / ASHLAYOT
YEAR: 2001
DIR/PROD: Haim Bouzaglo
COUNTRY: Israel
LANGUAGE: Hebrew
TIME: 50 minutes each episode
SOURCE: Roni Productions-Shai Nesher, Tel Aviv
TEXT: TV SERIES. Series Creator: Haim Buzaglo. Prod.: Shai Nesher. W.: Esti Yerushalmi, Rafi Amzaleg, Yonathan Tchartchi, Shabetai Konorti, Sacha Tchernihovski, Eli Luzon, Lea Shabat, Ayelet Zorer, Roberto Polak, Ludmila Hen, Galia Sudri, Maski Shbiro, Amnon Fisher, Dor Tsvangenboim, Uri Abrahami, Michael Korech, Eva Kaplun, Albert Illouz, Arye Tcherner, Yona Elian. Illusions is a light and entertaining neighborhood telenovela parody that takes place in an imaginary suburb that represents all of the suburban neighborhoods in Israel. The camera, like an eye, wanders among the picturesque apartment blocks, homes and businesses of the neighborhood, discovering a variety of characters and types: their distress, their loves, and their stories in a musical, gypsy-like atmosphere... At the center of the plot is a romantic triangle involving Bebe (named after Brigitte Bardot), daughter of the Persian Babajun, Sasi the Moroccan with the peddlers stand and Sasha the new immigrant from Russia, who tries to capture Bebe's heart. The series-part nostalgic, part contemporary, with a bit of social drama and a bit of comedy-invites the viewer to an escapist trip into the world of the familiar and the ever so close to home; in effect, to the heart of Israel's immigrant society Jerusalem Film Festival 2002.

A TAIL OF A KITE / ZANAV SHEL AFIFON

TITLE: A TAIL OF A KITE / ZANAV SHEL AFIFON
YEAR: 2002
DIR/PROD: Shiri Tsur
COUNTRY: Israel
LANGUAGE: Hebrew w/ English ST
TIME: 52
SOURCE: Hamon Productions, Ltd., Tel Aviv
TEXT: TV SERIES W.: Lani Shahaf, Gaya Traub, Mosco Alkelai, Miriam Gabrieli, Natan Segev Cohen. 12-year-old Miki's real name is Michaela, but everyone calls her Miki. With her baseball cap and tough shorts, nearly everyone who sees her for the first time thinks she is a boy. Miki doesn't mind, she is even kind of happy about it. Every summer vacation Miki goes to her grandparents on their moshav. She looks forward to climbing the trees in the yard, petting the newborn chicks, collecting eggs and helping grandfather. But this summer is different. Miki's parents are getting a divorce and Miki knows it, though nobody has told her. In the grandparents' house, things aren't too swell either: Noga, Miki's beautiful, crazy aunt, returned from hospitalization and is now there, and besides that, her grandparents' moshav is embroiled in conflicts over real estate. All Miki wants to do is run away from there. She wants to go home. To escape the heat, the smell of the chickens and especially, love-sick Noga and her new suitor. Not even the new chicks can cheer her up, nor can the colorful kite that she and Noga try to fly, because in this heat, there is no wind and the kite can't fly without wind. But from the midst of her madness, Noga manages to take Miki for a journey in the world of adults and finds something in her that even Miki didn't realize was there. Jerusalem Film Festival 2002.

THE POSTWOMAN / LEVANA YAKIRATI

TITLE: THE POSTWOMAN / LEVANA YAKIRATI
YEAR: 2002
DIR/PROD: Dina Zvi-Riklis
COUNTRY: Israel
LANGUAGE: Hebrew w/ English ST
TIME: 50
SOURCE: Hamon Productions, Ltd., Tel Aviv
TEXT: W.: Orly Zilbershatz-Banai, Moshe Ivgi, Jermaine Anikovski, Orli Tovali. Levana Zadikov is a charming postwoman, a 40-year-old spinster, who lives with her infirm mother. She dreams of marrying and building a family. Levana lives in Yad Eliyahu and delivers letters in a wealthy north Tel Aviv neighborhood. The most exciting thing in Levana's life are the daily radio quizzes which she solves easily but of course, never has the guts to call in. Into the neighborhood where Levana delivers mail moves Albert Casuto, a charming, educated and well-kept man in his 50s. She immediately finds him attractive. One day, among his mail, she finds a personal letter, addressed in delicate, feminine handwriting. Levana finds that the letter was sent by Rachel Amitai, a widow whose announcement in the lonely-hearts column Mr. Casuto answered. Levana decides to take advantage of the opportunity and to get the man she wants. She tosses out the original letter and writes a new one herself, signing it "Rachel". Levana pretends to be a literature teacher who lives in a penthouse overlooking the sea and loves poetry and theater. A deep friendship develops through the letters. In one of the letters, after Mr. Casuto insists on meeting, Levana decides that there is no choice but forsake her false identity. Mr. Casuto will soon understand that his meek postwoman, the one he had hardly noticed, is the same sensitive and poetic woman whose charms have conquered him Jerusalem Film Festival 2002.

TOLEK

TITLE: TOLEK
YEAR: 2002
DIR/PROD: Ophir Rotem
COUNTRY: Israel
LANGUAGE: Hebrew w/ English ST
TIME: 40
SOURCE: Beit Berl College, Kfar Sabba
TEXT: W.: Lupo Berkovitch, Ruth Farchi, Roni Blitz. The morning after the Likud came into power in 1977, Genia decides not to get out of bed. From that moment on, her husband Tolek spends his time trying to make her get out of bed and to find creative solutions for her depression. (40 min.) Jerusalem Film Festival 2002.

AGENT 225

TITLE: AGENT 225
YEAR: 2002
DIR/PROD: Asaf Sandhaus
COUNTRY: Israel
LANGUAGE: Hebrew w/ English ST
TIME: 18
SOURCE: Dept. of Film & Television, Tel Aviv University
TEXT: W.: Iftah Klein, Sasi Keshet, Keren Berger. Agent 225 is the king of telemarketing, or at least that is what he is trying to sell us. But reality slaps Agent 225 in the face time and time again. Now he has to face reality with his own special method. (18 min.) Jerusalem Film Festival 2002.

UNDERDOG

TITLE: UNDERDOG
YEAR: 2002
DIR/PROD: Eran Merav
COUNTRY: Israel
LANGUAGE: Hebrew w/ English ST
TIME: 21
SOURCE: Sam Spiegel School of Film & Television, Jerusalem
TEXT: W.: Shlomi Avraham, Tamara Avshalom Natti, an unwanted boy in a boarding school, is unaware of his true situation. He meets a girl he wants and learns some painful truths. (21 min.) Jerusalem Film Festival 2002.

A TRUE TALE

TITLE: A TRUE TALE
YEAR: 2002
DIR/PROD: Itshak Sverdlov
COUNTRY: Israel
LANGUAGE: Hebrew w/ English ST
TIME: 20
SOURCE: Ma'ale School of Film & Television, Jerusalem
TEXT: W.: Shmuel Shilo, Gershon Zote, Ishai Meir. Mendel, a Holocaust survivor, is helped by his Philipino Aide, Jose. One day the police come looking for foreign workers whose work permits have expired, and Mendel's children are ready to turn Jose in, but Mendel decides to save him at any cost. What the police don't know is that Mendel and Jose speak Yiddish with one another. Jerusalem Film Festival 2002.

CIRCLES

TITLE: CIRCLES
YEAR: 2002
DIR/PROD: Asi Aives
COUNTRY: Israel
LANGUAGE: Hebrew w/ English ST
TIME: 12
SOURCE: Hadassah College, Jerusalem
TEXT: W.: Shmulik Cohen, Davit Shavig, Yael Netzer. An analog between adults and children, a simple story about a small family trying to solve its problems in unusual ways - through intuition and superstitions, through the surrealistic and magical world of children. A story that reflects the societal lack of communication that results in a never-ending circle of victim-hood. (12 min.) Jerusalem Film Festival 2002.


TIKKUN

TITLE: TIKKUN
YEAR: 2002
DIR/PROD: Taliya Finkel
COUNTRY: Israel
LANGUAGE: Hebrew w/ English ST
TIME: 51
SOURCE: Taliya Finkel Productions, Tel Aviv
TEXT: "If I saw someone else screaming like my mother, I would be sure that person was mentally disturbed, if it wasn't 100% authentic..." This is what Israel Meir says about his mother, Rabbanit Leah Kook, whose discourse, according to him, stems from absolutely authentic belief. Who is the Rabbanit Kook-a religious missionary, an actress or a motherly housewife? Where does the controversial Rabbanit find her strong adherence to the goals that she has set for herself: to bring every soul in Israel back to the faith? The ultra-orthodox community in general and its women in particular are extremely wary of media exposure. The film therefore provides a rare look into the lives of ultra-orthodox women, their activities and their grasp of their identities. The surprising cooperation demonstrated by the Rabbanit in making this film, and her agreement to such intimate exposure of her physical and spiritual world for two years were a form of tikkun for her. Viewers will be introduced to the unique daily routine in the Rabbanit's house in Tiberias, the hierarchy there, the way in which she influences the immediate congregation and the population of women who believe in her powers. We will see how her family copes with this unusual mother. Thanks to the surprising sincerity of her children, the source of her powers will be revealed. Who, in fact, is the Rabbanit Kook? Jerusalem Film Festival 2002, WOLGIN AWARD COMPETITION.

A FIVE MINUTE WALK / HAMESH DAKOT BEHALICHA

TITLE: A FIVE MINUTE WALK / HAMESH DAKOT BEHALICHA
YEAR: 2002
DIR/PROD: Itay Lev
COUNTRY: Israel
LANGUAGE: Hebrew w/ English ST
TIME: 90
SOURCE: Itay Lev, Tel Aviv
TEXT: W.: Sharon Alexander, Rinan Haim, Adam Horowitz, Tal Cahana, Ami Wineberg, Dvir Bendek, Eyal Rozales, Gabriel Hadar, Sharon Shtark, Zvulun Moshiashvily, Dror Geva, Chris L'Artist, Sharon Kantor, Noa Tishby, Alon Abutbul. A five minute walk and 24 hours stand between Tel Aviv Police detective Amir Samo and redemption- if he can just finish this day with Tziki, a drug dealer, pimp and worthy opponent, behind bars. This morning, just a few hours before he can close the case and become a hero, someone begins to pull the strings, and Samo turns in an instant into a bad guy. Two whores, Tziki's girls, issue a complaint against him for sexual harassment, and Samo is sent home until further notice. His commander avoids him, the criminals laugh behind his back and the newspapers publish headlines. The only place that will have him is the neighborhood pub, where, as always, Michal, the saddest barmaid in the city, serves drinks, no questions asked. Her boyfriend, Lior Biterman, a director in the bad sense of the word, also has plans of becoming a hero, but he lacks a good story. He shoots his first film, about him and her and about how photogenic life is when it is miserable. A bounty of characters with much to do and little to lose, go out into the Tel Aviv night aiming to return home safely with what they need: 20 kilos of coke, a black-and-white film, or love. They will meet much more quickly than they imagined. A five minute walk separates police from criminals, enemies from lovers, a happy ending from inevitable tragedy Jerusalem Film Festival 2002.








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