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Two sisters become victims of the patriarchal, ultra-orthodox society.

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3 wins & 2 nominations. See more awards »

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Cast

Credited cast:
...
Rivka
Yoram Hattab ...
Meïr
Meital Barda ...
Malka
Uri Klauzner ...
Yossef (as Uri Ran-Klausner)
...
Rav Shimon
Leah Koenig ...
Elisheva (as Lea Koenig)
Sami Huri ...
Yaakov
Rivka Michaeli ...
Gynaecologist
Samuel Calderon ...
Uncle Shmouel
Rest of cast listed alphabetically:
Noa Dori ...
Noa
Shireen Kadivar ...
Lexa
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Storyline

The year 2000 approaches in Jerusalem's Orthodox Mea Shearim quarter, where the women work, keep house, and have children so the men can study the Torah and the Talmud. Rivka is happily and passionately married to Meir, but they remain childless. The yeshiva's rabbi, who is Meir's father, wants Meir to divorce Rivka: "a barren woman is no woman." Rivka's sister, Malka, is in love with Yakov, a Jew shunned by the yeshiva as too secular. The rabbi arranges Malka's marriage to Yossef, whose agitation when fulfilling religious duties approaches the grotesque. Can the sisters sort out their hearts' desires within this patriarchal world? If not, have they any other options? Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Drama

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Details

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Release Date:

10 June 1999 (Israel)  »

Also Known As:

Sacred  »

Box Office

Opening Weekend:

$30,820 (USA) (18 February 2000)

Gross:

$735,864 (USA) (18 August 2000)
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Company Credits

Production Co:

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Runtime:

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Aspect Ratio:

1.85 : 1
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Did You Know?

Connections

Featured in A History of Israeli Cinema (2009) See more »

Soundtracks

Leolam vaed
by Yaakov-David Shperling, Amnon Fisher, Eran Levi, Yaron Ben Alexander, Pini Fridman
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User Reviews

An unfriendly distortion
28 October 2011 | by (Israel) – See all my reviews

Judging from the number of comments, KADOSH seems to have received more international exposure than many better Israeli films have. I would hate to think that the reason is that KADOSH encourages the audience to feel superior to the Orthodox Jews, because as other comments have pointed out, the film misrepresents the lifestyle of Orthodox Jews in both big ways and small. I understand there is a tiny industry of ultra-Orthodox Jewish video dramas in Israel, and it would be interesting to see in contrast how these people portray themselves; but few outsiders are likely ever to see those productions because of their commercial appeal is nil. The portrayal of the ultra-Orthodox is left to well-intentioned distortions like THE SECRETS (a more recent Israeli film) and to viciously intended distortions like this one, in which the camera moves from a dead body to a shelf of Jewish books and a Jewish candelabrum as if to say "The blame lies here."


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