Amos Gitai

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.

Inspired by the "The wind of cinema" festival which every year deals with issues relating to the relationship between cinema and philosophy, it shows a conversation between the critic Enrico Ghezzi and some directors including Werner Herzog, Amos Gitai, and the philosopher Boris Groys. The theme addressed is the "Catastrophe".

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.

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.

Israeli filmmaker Amos Gitaï offers a look impressionist long history of armed conflict in their nation.

No synopsis available yet.

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 Found footage, unpublished interviews with cinema and television personalities, fragments of films, extracts from television programs, photographs, readings and interventions by the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

The story of various journeys through the West Bank and Gaza Strip occupied territories during the months leading up to Israel's invasion of Lebanon.

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.

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.

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.

Made for the Venice Film Festival's 70th anniversary, seventy filmmakers made a short film between 60 and 90 seconds long on their interpretation of the future of cinema.

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.

Eleven directors from eleven countries each contribute an eleven-minute short reflecting on the events of 11 September 2001: A village teacher in Iran tries to explain to her young students what's happened; city kids in Burkina Faso think they've spotted Osama bin Laden; a deaf Frenchwoman in Manhattan writes a Dear John letter to a man who left that morning for work at the World Trade Center; a Chilean remembers Allende; events recall other deaths; a mother endures more than her son's death. Tones vary, as do the locales. Most concern coming to terms with the events of the day, but at least one confronts the viewer with tragedy and death.

Eleven directors from eleven countries each contribute an eleven-minute short reflecting on the events of 11 September 2001: A village teacher in Iran tries to explain to her young students what's happened; city kids in Burkina Faso think they've spotted Osama bin Laden; a deaf Frenchwoman in Manhattan writes a Dear John letter to a man who left that morning for work at the World Trade Center; a Chilean remembers Allende; events recall other deaths; a mother endures more than her son's death. Tones vary, as do the locales. Most concern coming to terms with the events of the day, but at least one confronts the viewer with tragedy and death.

On a tramway that connects several of Jerusalem's neighborhoods from East to West, a mosaic of people from different religious and ethnic backgrounds are brought together.

On a tramway that connects several of Jerusalem's neighborhoods from East to West, a mosaic of people from different religious and ethnic backgrounds are brought together.

On a tramway that connects several of Jerusalem's neighborhoods from East to West, a mosaic of people from different religious and ethnic backgrounds are brought together.

Commissioned to mark the 60th anniversary of the Cannes Film Festival, "To Each His Own Cinema" brought together 33 of the world's pre-eminent filmmakers to produce short pieces exploring the multifarious facets of cinema and their perspective on the state of their chosen artform in the early 21st century.

Commissioned to mark the 60th anniversary of the Cannes Film Festival, "To Each His Own Cinema" brought together 33 of the world's pre-eminent filmmakers to produce short pieces exploring the multifarious facets of cinema and their perspective on the state of their chosen artform in the early 21st century.

Amos Gitai explores the international traffic in contract labor through parallel movements of Thai women in the sex trade and men migrating to the Gulf states. Through interviews and observational footage, the film exposes the economic forces and human consequences shaping lives across borders.

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.

The film was shot entirely in a nightclub, with an adjoining contemporary art gallery, whose customers are both Israelis and Palestinians, in one of Israel’s most open cities, Haifa. A long night in a place where the most diverse people meet: Jews, Muslims, gays, heterosexuals, transvestites; and three women, who in that multifaceted microcosm, a gathering peaceful hideout, can find shelter from male bullying and arrogance.

The film was shot entirely in a nightclub, with an adjoining contemporary art gallery, whose customers are both Israelis and Palestinians, in one of Israel’s most open cities, Haifa. A long night in a place where the most diverse people meet: Jews, Muslims, gays, heterosexuals, transvestites; and three women, who in that multifaceted microcosm, a gathering peaceful hideout, can find shelter from male bullying and arrogance.

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 essay parable, part documentary part fiction, on the desire for a leader, anchored in Brecht’s 1935 poem A Worker Reads History.

The first of four installments in the groundbreaking Heartbeat of the World anthology film series. Comprised of several short films by some of the world's most exciting directors, Words with Gods follows the theme of religion - specifically as it relates to an individual's relationship with his/her god or gods...or the lack thereof. In Words with Gods, each director recounts a narrative centered around human fragility, as well as environmental and cultural crises involving specific religions with which each has a personal relationship; including early Aboriginal Spirituality, Umbanda, Buddhism, the Abrahamic faiths, Hinduism, and Atheism. An animated sequence by Mexican animator Maribel Martinez is woven through each of the film segments, with each segment narratively connected as a feature-length film.

The first of four installments in the groundbreaking Heartbeat of the World anthology film series. Comprised of several short films by some of the world's most exciting directors, Words with Gods follows the theme of religion - specifically as it relates to an individual's relationship with his/her god or gods...or the lack thereof. In Words with Gods, each director recounts a narrative centered around human fragility, as well as environmental and cultural crises involving specific religions with which each has a personal relationship; including early Aboriginal Spirituality, Umbanda, Buddhism, the Abrahamic faiths, Hinduism, and Atheism. An animated sequence by Mexican animator Maribel Martinez is woven through each of the film segments, with each segment narratively connected as a feature-length film.

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 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 sum of money.

1972 Gitai super8 short film

"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.