Aliza Rosen

Jerusalem, Israel. Professors Eliezer and Uriel Shkolnik, father and son, have dedicated their lives to the study of the Jewish scriptures. Eliezer is a stubborn and methodical scholar who has never been recognized for his work; Uriel is a rising star, someone admired and praised by his colleagues. The fragile balance that has kept their personal relationship almost intact is broken in an unexpected way by a simple phone call.

A group of friends at a Jerusalem retirement home build a machine for self-euthanasia in order to help their terminally ill friend. When rumors of the machine begin to spread, more and more people ask for their help, and the friends are faced with an emotional dilemma

Through the eyes of the scientist in charge of the operation, we see the events leading to Israel developing her nuclear option in the 1960's.

An eighty-year-old man's body is found with three stab wounds to the chest and a number tattooed along his forearm. Amnon, a police detective and second generation Holocaust survivor, is reluctantly assigned to the case. As the plot weaves between the past and present, their stories unfold.

In December 1987, the (first) Palestinian Intifada broke out and the Occupied Territories were set alight with a mass wave of demonstrations, protesting the ongoing Israeli occupation – the largest scale, longest-running ones seen in the area since 1967. The IDF was sent in to quash the uprising and before long, TV screens across the country were inundated with footage of burning tyres, stones thrown about, and baton-wielding Israeli soldiers chasing after teens and children. In the face of this new reality that made the question of the Occupied Territories the single most pressing issue of the time, the Jerusalem Film Festival went ahead and commissioned the following project. The result is a classic, Heffner-esque film – an intelligent labyrinth containing the most fundamental of Israeli tropes: The Holocaust; Arabs; us vs. them – all of which find themselves clashing and intermingling, and ultimately rendering the viewers helpless and cringing with awkwardness.

Adapted from Yoram Kaniuk's best-selling novel, this heart-rending love story unfolds during the siege of Jerusalem in 1948. A young and beautiful volunteer nurse is drawn to the enigmatic Himmo, a mortally wounded and mutilated soldier who cannot speak or move.

10 years after he left Israel and "played it big-time in America", Benny Shpitz returns for a visit, self-exploring his youth, friends, dreams, beliefs and idol, Daniel Wax, who symbolized the "beautiful Israeli". Shpitz finds out his friends are melancholic, unsatisfied with marriage life, hiding a vast hole in their sole. In a wider context, Israel post 67' will no longer be the society that it was meant to be.

several parallel plotlines set on the eve of the Six-Day War. The stories play out concurrently as a way of conveying the reality of life in Israel, where the national and political are forever invading the individual’s space.