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- Two friends go on a hike to the desert. In the desolate wilderness something hidden comes out in their friendship. From then on, the only way they manage to communicate is sexually and violently. While one of them wants more than the other is able to give, he expresses his frustration by making sure they get lost and have no water - anything to escape from awaiting reality.
- The day Pasqual, a Peruvian migrant worker, decides to distance himself from his wife and move to Jerusalem, is the day before the ninth birthday of their son Luca. Pasqual sets out on a journey across the new city to find a birthday present for his son. The failed attempts of the helpless father in the difficult reality of immigrant life lead Pasqual to understand that he must make a painful concession in order to bring happiness to his son on the most important day of the year.
- Alma, a young director, seeks an actor and actress for a violent key scene which she has written. Not one of those auditioning can breathe emotion into the scene. In a moment of crisis, Alma decides to play the female lead herself. The scene comes alive, yet Alma loses control on reality.
- 18-year-old Anton hangs out with thugs who steal cell phones and blackmail their owners. But when Anton gets a hold of Meitar's phone, he becomes obsessed with the world she has compulsively recorded.
- Dalia gives her young daughter Ella a head lice treatment in the bathroom. When Ella's father arrives unexpectedly to pick her up for his Saturday visit, the intimate lice treatment turns into a divorce battle fought over little Ella's wet head.
- Babaga, a strange and wild woman, lives in the forest. Wandering around, she finds the body of a handsome young man. She brings him back to life and nurses him and in time they grow close. Before exposing his blind eyes, she will try to make herself worthy of love.
- Occupation and creation; a story deconstructing reality, telling a tale about a different Middle East. In an alternative reality the Palestinian army is the occupier, and Palestinian directors make films to deal with their own trauma.
- Fifty years after Slow Down by Avraham Heffner won a prize at Venice Film Festival, top alumni of the Jerusalem Sam Spiegel Film School challenge the 1968 legendary black and white thirteeen-minute short, which penetrates the essence of a quarrel and reconciliation between an elderly couple in Tel Aviv of 1967. The voice over stream of consciousness of the heroine's poignant self-examination serves as the launching pad for six modern-day interpretations of couplehood, laced together in contemporary Israel.
- A forbidden journey across the border heightens the tension between Eran, an Israeli musician, an Ali, a young Palestinian. Eran's naivety and Ali's fears meet along their journey to a wedding in Jericho as nothing is sure that they will even reach their destination.
- Between autobiography and fiction, curiosity and despair, 'In Praise of the Day' is a bold homosexual film, taking place at the Independence Park in Jerusalem. Director Oren Adaf plays the lead role of a young man wondering around the park and looking for a phone. He meets the usual characters of the park and is willing to do anything to be able to call his traditional mother before Shabbat.
- Eitan works security in the Dead Sea Works factory. On his way to a night shift he is sexually assaulted by his bus driver, thus begins a dream-like journey on the silent beaches of the Dead Sea.
- In Tel Aviv, Yoav receives a visit from Delphine, the girlfriend of Emile, his boyfriend from Paris. Their day together in the city confronts their mutual expectations in the face of a complex Israeli society.
- Meni, a member of a Haredi sect, lives between two worlds. He takes Rona, his secular girlfriend, on a romantic weekend to a cabin in the hills. An unexpected phone call puts their relationship to a renewed test.
- Love Letters to Cinema is a collection of ten "letters" in the form of short films (4 minutes each), written and directed by ten outstanding Israeli directors. The films and the directors conduct a dialogue, whereas the directors create a short film with their unique voice, bringing to the audience a group of work that reflects on cinema. Love Letters to Cinema is a true collaborative effort. Alongside the directors, over 300 industry professionals and students from the Sam Spiegel school volunteered to take part in the project, whereas their mutual love of cinema creates a colorful and powerful project.
- Eitan Kalish is a fictitious character of a student documentary film. A small -time friendly ecstasy deal he sets up unexpectedly goes to distance, when the Israeli Defense Forces are re-occupying Palestinian land, causing 1000 pills to fall into his lap. He sets up the ultimate poetic statement: selling the pills in the coming "Anti Occupation Rave" in Tel Aviv.
- Michael is a charismatic and much-admired Rabbi at a Jerusalem Yeshiva. A revealing confession by Gadi, his favorite student, will shake the rabbi's familiar and secure world.
- As ALS ravages Michal's body, she holds onto her motherhood. With time running out, she strives to make lasting memories for her son Naveh, who tries on his own to understand what no one dares to explain.
- Zohara is the daughter everyone takes for granted in her big, Moroccan family, while her sister, Oshrit, is a beauty about to get married. On the day of her younger sister's traditional henna ceremony, Zohara steals her sister's blessing, which is given to all brides before their wedding day. The mystical power of this blessing transforms Zohara, bringing her love and changing the dynamic of her relationship with her sister.
- The first ever Israeli documentary film to feature an Arab protagonist is revisited 50 years later by top graduates of the Sam Spiegel Film School.
- Four characters intersect in a busy street on a summer's day in Tel-Aviv: a cab-driver waiting for a fare, a baker waiting for customers, an introverted young woman and a resolute safety-doors salesman.
- 1948 War . Lolek,a young Holocaust survivor arrives in Israel and thrown in the middle of the desert. A stranger to the language and the new identity he is given, he is assigned in an isolated post under a brutal commander and the burning sun. Afflicted by homesickness and the heat, he sets out to look for some shade. "Homeland offers not only a revisionist account of Israeli history, but of Israeli cinema as well. More than any other Israeli director, Dani Rosenberg explores the price paid by the individual for the demands put on them by the Zionist endeavor. Other Israeli filmmakers, no matter how critical of the Zionist project and of Israeli society, tended to mitigate the stress of this demand by placing their protagonists within the context of a collective-commonly represented by a small group of people or a family-and in doing so, submitted their anguish to its impersonal logic. By placing this community outside of the film's frame and by rendering the significance of the struggle against its demands uncertain, Homeland turns that anguish into a challenge to talk about Israeli history.." Prof. Shai Ginsburg/Duke University "Through the story of two Jewish Holocaust survivors, who roast out in the hot dessert sun as the War of Independence rages, Rosenberg tackles issues such as the artificial construct of the "Sabra", and the connection between Jewish and Arab refugees. One of the characters (Itay Tiran) is a most recent immigrant who is actually trying to get to Haifa to find his girlfriend, and finds himself on a lonely hilltop in the middle of the dessert. The other (Mikki Leon) is waiting for him on that hilltop and has already become the Sabra. He is mustached, tan and muscular yet underneath that he is hiding the Diaspora Jew that Zionism tried to exorcise. This surrealistic situation, which recalls Rafi Bukai's film "Avanti Popolo", becomes even more strange and encumbered by the fact that all the dialogue is in Yiddish. The erotic, sadomasochistic relationship between the two- the pale weak Diaspora Jew and the tanned macho commander, express a concrete question about the ways in which, the Jew is attracted, in an almost Fascistic way, to power. The "discovery" of an abandoned Palestinian village by the character portrayed by Itay Tiran, who stumbles upon the body of a local boy, supplies the film with one of its most powerful moments and expresses the Holocaust survivor's attraction to death. The element of violence that the new immigrant identifies with on his way to becoming a "new Jew" leads to a surrealistic departure scene in which the character says good bye to the old Diaspora world. All of a sudden, the timeless discussion of Jewish victimhood is seen in a different light. This is an issue that has been already presented by new historiography of Zionism, but not yet by the contemporary cinema..." The History of Violence, Yair Raveh, Cinemascope
- When her adult daughter moves back home after a crisis of the heart, homemaker Flora tries to awaken her own diminishing love life.