However many books and movies take it as their subject, a historical travesty on the incomprehensible scale of the Holocaust must always contain within it an uncountable number of untold stories. Given this wealth of untapped dramatic potential, it’s all the more perplexing that American director Jake Paltrow should choose to refer to his family’s Jewish heritage (the Paltrows have Belarusian and Polish Jewish ancestry) with “June Zero,” a polished, well-performed but thinly stretched attempt to communicate the seismic impact of Adolf Eichmann’s 1962 execution on Israeli society. Though it occasionally brushes up against intricate ideas about memory and memorialization — who gets to be commemorated, who must not, and the genesis of the ‘never forget’ ethos — “June Zero” itself leaves a quickly fading impression.
The film’s status as an Israeli prestige project is signalled by the involvement of the Israeli Ministry For Culture and Sport and The...
The film’s status as an Israeli prestige project is signalled by the involvement of the Israeli Ministry For Culture and Sport and The...
- 7/5/2022
- by Jessica Kiang
- Variety Film + TV
As the director herself has stated, Palaistinian producers-filmmakers tend to shoot movies about the Occupation without realizing it. In “Villa Touma”, however, Suha Arraf tries to stray away from the usual approach to the subject, by focusing on a story that is almost Shakesperean, still managing, though, to talk about the Occupation.
“Villa Touma” screened at Vesoul International Film Festival of Asian Cinema
The film begins in 2000, when Badia ages out of the Christian orphanage where she grew up, and is essentially forced upon her aunts, three sisters who have lost their lands and social status following the Six Day War with Israel in 1967, but continue to live as if nothing has changed, essentially in seclusion from the outside world, with the exception of the high class gatherings in thelocal Christian church. Juliette, the eldest one and “boss” of the family, greets Badia in coldness, immediately communicating that the only...
“Villa Touma” screened at Vesoul International Film Festival of Asian Cinema
The film begins in 2000, when Badia ages out of the Christian orphanage where she grew up, and is essentially forced upon her aunts, three sisters who have lost their lands and social status following the Six Day War with Israel in 1967, but continue to live as if nothing has changed, essentially in seclusion from the outside world, with the exception of the high class gatherings in thelocal Christian church. Juliette, the eldest one and “boss” of the family, greets Badia in coldness, immediately communicating that the only...
- 2/17/2022
- by Panos Kotzathanasis
- AsianMoviePulse
Is a wedding the happy ending of a love story, or just the beginning? And is it even possible to get really ready to the moment? These are some of the questions risen by Israeli female director Talya Lavie in her sophomore work “Honeymood” which follows the 2004 debut, the record-breaking box office hit “Zero Motivation”, a film following two utterly demotivated young women in the Israely Army, assigned to a remote military outpost. The work earned Lavie the top prize at Tribeca in 2014, as well as the Nora Ephron Prize and six Israeli Academy Awards. Of course, it also set the bar very high for her following effort.
“Honeymood” is screening at the BFI London Film Festival
The Wedding reception has just finished and newlywed Eleanor (Avigail Harari) and Noam (Ran Danker) open the doors of the Grand suite in the Waldorf Astoria Jerusalem, ready to spend there their first night as a married couple.
“Honeymood” is screening at the BFI London Film Festival
The Wedding reception has just finished and newlywed Eleanor (Avigail Harari) and Noam (Ran Danker) open the doors of the Grand suite in the Waldorf Astoria Jerusalem, ready to spend there their first night as a married couple.
- 10/8/2020
- by Adriana Rosati
- AsianMoviePulse
Miranda Bailey’s narrative directorial debut “Being Frank” is a comedy about male hypocrisy set in 1992 that dives into many intriguing ideas and issues and gives us a lot to consider. This is commendable — given that many commercial comedies give us nothing to consider at all — but there is a tug-of-war here between her attempt to explore her characters in a very serious way with a consistent emotional basis and the demands of the material as written by Glen Lakin, which is clearly meant to be played as farce most of the time, particularly towards the end.
The first moments of “Being Frank” show high school senior Philip (Logan Miller) doing a practice job interview with his father Frank (Jim Gaffigan), and the way the shots are composed makes us feel Frank’s bullying control over his son; the effect is oppressive and even alienating at first, but to a point.
The first moments of “Being Frank” show high school senior Philip (Logan Miller) doing a practice job interview with his father Frank (Jim Gaffigan), and the way the shots are composed makes us feel Frank’s bullying control over his son; the effect is oppressive and even alienating at first, but to a point.
- 6/13/2019
- by Dan Callahan
- The Wrap
Sameh Zoabi’s Tel Aviv On Fire wins top prize.
The 34th Haifa International Film Festival (September 22-October 1) came to a close with Sameh Zoabi’s Tel Aviv On Fire winning the Haifa Cultural Fund Award for the Best Feature Film in the Israeli feature competition. It comes with a $27,000 prize.
Zoabi’s third feature, a comic take on the Israeli-Palestinian conflict, made its debut at Venice Orizzonti strand.
This year’s jury comprised Julie Schlez, Philippe Le Guay, Salwa Nakkara, Yaron Scharf, Jordi Rediu
The full list of winners are below.
Best Israeli film
Tel Aviv on Fire (dir.
The 34th Haifa International Film Festival (September 22-October 1) came to a close with Sameh Zoabi’s Tel Aviv On Fire winning the Haifa Cultural Fund Award for the Best Feature Film in the Israeli feature competition. It comes with a $27,000 prize.
Zoabi’s third feature, a comic take on the Israeli-Palestinian conflict, made its debut at Venice Orizzonti strand.
This year’s jury comprised Julie Schlez, Philippe Le Guay, Salwa Nakkara, Yaron Scharf, Jordi Rediu
The full list of winners are below.
Best Israeli film
Tel Aviv on Fire (dir.
- 10/3/2018
- by Screen staff
- ScreenDaily
The film explores the birth of Israel’s controversial religious political party Shas in the 1980s.
The 35th edition of the Jerusalem Film Festival (Jff) opened on Thursday evening (July 26) with Israeli director Eliran Malka’s debut feature The Unorthodox, exploring the events leading up to the birth of Israel’s controversial religious political party Shas in the 1980s.
Festival director Noa Regev and Jff artistic director Elad Samorzik’s decision to select a picture by a first-time director with a religious background was seen as bold move given the festival’s traditionally secular atmosphere, but it appears to be have paid off.
The 35th edition of the Jerusalem Film Festival (Jff) opened on Thursday evening (July 26) with Israeli director Eliran Malka’s debut feature The Unorthodox, exploring the events leading up to the birth of Israel’s controversial religious political party Shas in the 1980s.
Festival director Noa Regev and Jff artistic director Elad Samorzik’s decision to select a picture by a first-time director with a religious background was seen as bold move given the festival’s traditionally secular atmosphere, but it appears to be have paid off.
- 7/27/2018
- by Melanie Goodfellow
- ScreenDaily
Festival’s new $20,000 international competition prize goes to Albert Serra for The Death Of Louis Xiv; One Week And A Day wins best Israeli feature.
The 33rd Jerusalem Film Festival, which wraps on Sunday, has awarded its top prizes to The Death Of Louis Xiv by Albert Serra (best international film), One Week And A Day by Asaph Polonsky (best Israeli feature), and Dimona Twist by Michal Aviad (best Israeli documentary).
The international jury was comprised of Cornerstone Films’ Alison Thompson, Icelandic director Grímur Hákonarson, and Israeli director Talya Lavie, who praised Serra “for creating a bold and distinctive chamber piece in a beautifully detailed world. For its stunning set design and cinematography that captures its period brilliantly. For creating an intimate and moving look at the sunset of a great figure in history.”
An honourable mention went to Tobias Lindholm’s A War.
The Death Of Louis Xiv wins the $20,000 cash prize for the festival’s new international...
The 33rd Jerusalem Film Festival, which wraps on Sunday, has awarded its top prizes to The Death Of Louis Xiv by Albert Serra (best international film), One Week And A Day by Asaph Polonsky (best Israeli feature), and Dimona Twist by Michal Aviad (best Israeli documentary).
The international jury was comprised of Cornerstone Films’ Alison Thompson, Icelandic director Grímur Hákonarson, and Israeli director Talya Lavie, who praised Serra “for creating a bold and distinctive chamber piece in a beautifully detailed world. For its stunning set design and cinematography that captures its period brilliantly. For creating an intimate and moving look at the sunset of a great figure in history.”
An honourable mention went to Tobias Lindholm’s A War.
The Death Of Louis Xiv wins the $20,000 cash prize for the festival’s new international...
- 7/15/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Festival’s new $20,000 international competition prize goes to Albert Serra for The Death of Louis Xiv; One Week And a Day wins best Israeli feature.
The 33rd Jerusalem Film Festival, which wraps on Sunday, has awarded its top prizes to The Death of Louis Xiv by Albert Serra (best international film), One Week And A Day by Asaph Polonsky (best Israeli feature), and Dimona Twist by Michal Aviad (best Israeli documentary).
The jury was comprised of Cornerstone Films’ Alison Thompson, Icelandic director Grímur Hákonarson, and Israeli director Talya Lavie, who praised Serra “for creating a bold and distinctive chamber piece in a beautifully detailed world. For its stunning set design and cinematography that captures its period brilliantly. For creating an intimate and moving look at the sunset of a great figure in history.”
An honourable mention went to Tobias Lindholm’s A War.
Louis Xiv wins the $20,000 cash prize for the festival’s new international competition, supported...
The 33rd Jerusalem Film Festival, which wraps on Sunday, has awarded its top prizes to The Death of Louis Xiv by Albert Serra (best international film), One Week And A Day by Asaph Polonsky (best Israeli feature), and Dimona Twist by Michal Aviad (best Israeli documentary).
The jury was comprised of Cornerstone Films’ Alison Thompson, Icelandic director Grímur Hákonarson, and Israeli director Talya Lavie, who praised Serra “for creating a bold and distinctive chamber piece in a beautifully detailed world. For its stunning set design and cinematography that captures its period brilliantly. For creating an intimate and moving look at the sunset of a great figure in history.”
An honourable mention went to Tobias Lindholm’s A War.
Louis Xiv wins the $20,000 cash prize for the festival’s new international competition, supported...
- 7/15/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
I spoke with Zero Motivation director Talya Lavie about mixing genres and surrealism in her debut feature film
Neal Dhand: Did you always consider this a comedy? There are some rather dark moments – sexual violence and suicide – that could easily move this into darker territory. Were they always in the script?
Talya Lavie: The film is defined as a “dark comedy”, but while writing the script, I didn’t want to constrain myself in a specific genre. I put a large scale of emotions in it and the scenes you mentioned were there from the first draft of the script. I was actually interested in mixing different spirits in this film: humor, sadness, nonsense and tragedy.
Nd: Do you consider those scenes mentioned above to be unique to a female-military perspective?
Tl: Since the main characters of the film are women and I’m a female director, I...
Neal Dhand: Did you always consider this a comedy? There are some rather dark moments – sexual violence and suicide – that could easily move this into darker territory. Were they always in the script?
Talya Lavie: The film is defined as a “dark comedy”, but while writing the script, I didn’t want to constrain myself in a specific genre. I put a large scale of emotions in it and the scenes you mentioned were there from the first draft of the script. I was actually interested in mixing different spirits in this film: humor, sadness, nonsense and tragedy.
Nd: Do you consider those scenes mentioned above to be unique to a female-military perspective?
Tl: Since the main characters of the film are women and I’m a female director, I...
- 2/28/2015
- by Neal Dhand
- SoundOnSight
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