Yaky Yosha

Shalom is a young man from a nice, middle-class Tel Aviv family. His parents are keen for him go to university, but all of that doesn’t really factor in with his plans. Shalom drives a rickety, old estate car; he has two women in his life, keeping his companionship and romantic needs met; and spends his time on the road, soul-searching. He chances upon a group of artists and intellectuals (including Amos Keenan and Uri Avnery) who have been arguing about Israel’s socio-political future, discussing war and peace; settlements and land; the rich and the poor, and so on. The only thing everyone seems to be in agreement on is that the future is looking bleak. Shalom then decides to immigrate and head to the US – a decision that takes him nowhere, fast.

Yaky Yosha's 1982 Israeli drama Kvish Lelo Motza (aka Dead End Street) observes the trials and travails of a young prostitute named Alice (Anat Atzmon) who is thrust into jail alongside her pimp and hustler boyfriend. In desperation, Alice devises a scheme to save both of them: she will take the steps necessary to free herself, then set about raising the money to save her beau. However, she fails to anticipate the arrival of a documentary crew comprised of husband and wife Yoram (Yehoram Gaon) and Miri (Gila Almagor), who insist on filming her as she undergoes rehabilitation; when Yoram begins to fall hard for Alice, it draws the ire and chagrin of Miri, who begins to seethe with jealousy.

A group of bored young Tel Avivians in late 1960s Israel leaf through some playboy magazines whilst contemplating the conceptual meaning of “an end”.

Eve Anderson, a radio call-in host helps people with their relationships, but finds her own marriage lacking. A man approaches her in a bar and soon she's tempted into an affair. The lover starts pushing her away when she starts falling in love with him, and Eve begins suspecting he has ulterior motives when he steals her husband's gun.

Shalom is a young man from a nice, middle-class Tel Aviv family. His parents are keen for him go to university, but all of that doesn’t really factor in with his plans. Shalom drives a rickety, old estate car; he has two women in his life, keeping his companionship and romantic needs met; and spends his time on the road, soul-searching. He chances upon a group of artists and intellectuals (including Amos Keenan and Uri Avnery) who have been arguing about Israel’s socio-political future, discussing war and peace; settlements and land; the rich and the poor, and so on. The only thing everyone seems to be in agreement on is that the future is looking bleak. Shalom then decides to immigrate and head to the US – a decision that takes him nowhere, fast.

Shalom is a young man from a nice, middle-class Tel Aviv family. His parents are keen for him go to university, but all of that doesn’t really factor in with his plans. Shalom drives a rickety, old estate car; he has two women in his life, keeping his companionship and romantic needs met; and spends his time on the road, soul-searching. He chances upon a group of artists and intellectuals (including Amos Keenan and Uri Avnery) who have been arguing about Israel’s socio-political future, discussing war and peace; settlements and land; the rich and the poor, and so on. The only thing everyone seems to be in agreement on is that the future is looking bleak. Shalom then decides to immigrate and head to the US – a decision that takes him nowhere, fast.

Yaky Yosha's 1982 Israeli drama Kvish Lelo Motza (aka Dead End Street) observes the trials and travails of a young prostitute named Alice (Anat Atzmon) who is thrust into jail alongside her pimp and hustler boyfriend. In desperation, Alice devises a scheme to save both of them: she will take the steps necessary to free herself, then set about raising the money to save her beau. However, she fails to anticipate the arrival of a documentary crew comprised of husband and wife Yoram (Yehoram Gaon) and Miri (Gila Almagor), who insist on filming her as she undergoes rehabilitation; when Yoram begins to fall hard for Alice, it draws the ire and chagrin of Miri, who begins to seethe with jealousy.

Yaky Yosha's 1982 Israeli drama Kvish Lelo Motza (aka Dead End Street) observes the trials and travails of a young prostitute named Alice (Anat Atzmon) who is thrust into jail alongside her pimp and hustler boyfriend. In desperation, Alice devises a scheme to save both of them: she will take the steps necessary to free herself, then set about raising the money to save her beau. However, she fails to anticipate the arrival of a documentary crew comprised of husband and wife Yoram (Yehoram Gaon) and Miri (Gila Almagor), who insist on filming her as she undergoes rehabilitation; when Yoram begins to fall hard for Alice, it draws the ire and chagrin of Miri, who begins to seethe with jealousy.

A group of bored young Tel Avivians in late 1960s Israel leaf through some playboy magazines whilst contemplating the conceptual meaning of “an end”.

A movie about a last summer in the life of four friends just before they go to the army during early 1980's Tel-Aviv summer before the war in Lebanon.

A movie about a last summer in the life of four friends just before they go to the army during early 1980's Tel-Aviv summer before the war in Lebanon.

No synopsis available yet.

Boaz, a reserve soldier, returns from the battlefield and becomes involved in editing a memorial album dedicated to a friend who was killed before his eyes. He becomes increasingly involved in the lucrative business of producing memorabilia of this kind and does not hesitate exploiting the grief feelings of the survivors and symbolically becomes a "vulture," even in his romance with the dead hero's girlfriend.