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Dead End (2006)

It is the height of summer and the reality show "his heart's choice" is just about to launch its third season. Zacky Reibenbach, the show's creator, knows that without a really good gimmick... See full summary »


Dror Sabo
2 wins. See more awards »




Credited cast:
Ofer Shechter ... Yehuda
Gal Zaid ... Zaki
Noa Barkai ... Yael
Mali Levi ... Becky
Amnon Wolf ... Eitan
Eran Sar'el Eran Sar'el ... Prod. Shtriks
Amit Lior Amit Lior ... Weiss
Shiri Maimon ... Mika
Rest of cast listed alphabetically:
Omri Bar-Lev Omri Bar-Lev ... Omri the centrol guy


It is the height of summer and the reality show "his heart's choice" is just about to launch its third season. Zacky Reibenbach, the show's creator, knows that without a really good gimmick, there is no way he will repeat the success of the previous two seasons. Until he recalls his film student Yehuda Konitz. Yehuda has been documenting the rehabilitation of his friend Eitan for the past three years after the latter went blind under strange circumstances during his military service. His unique rehabilitation process was developed by Yael, Eitan's personal trainer and Yehuda's girlfriend. Yael is Eitan's eyes, and with her he is a true phenomenon, and this is exactly what Reibenbach is looking for. Yehuda doesn't have much faith in TV. He wants to make "a different film," a film from the point of view of someone who cannot see. But for this he needs $50,000, and what are the chances that someone will buy "a different film" from him? So when Reibenbach the ratings magician offers him ... Written by Jerusalem Film Festival

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Release Date:

14 September 2006 (Israel) See more »

Also Known As:

No Exit See more »

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User Reviews

All the world's a stage--and someone is directing
16 February 2008 | by friedtSee all my reviews

Dror Sabo, director of No Exit, has described his film as a comment on Israeli society that tries to divert itself from its painful daily reality by turning to daily "Reality Shows." In fact, though the film does condemn cultures that can be manipulated by shrewd entrepreneurs to live their lives through broadcast programs, its satire is directed at the men and women of the TV industry, particularly the "reality" segment. The theater audience is also targeted. We might think we are in on the joke, but in fact we are part of the joke—the beautiful people and melodramatic moments seduce us into enjoying the essentially corrupt world depicted in No Exit.

The story begins when the creator of a reality show in need of fresh ideas cynically co-opts the work of a documentary filmmaker, his former student. Promising funds, he convinces Yehuda to merge his film about the rehabilitation of a blind soldier into the reality show "Choice of Heart," and to do so without revealing to the 10 beautiful contestants that the man wooing them is blind. Once Yehuda accepts the offer to direct the reality show, his downward spiral begins. The system succeeds via fakery, dishonesty, and manipulation, and Yehuda becomes a willing practitioner of these dark arts. The pacifist subject of his documentary agrees to be turned into a war hero and to play along with the blindness swindle. Yael, his therapist and Yehuda's girl friend, is pulled in as well. And presiding above it all is the snake in the Garden, the grand manipulator, Zachy, the creator of the show. Not that anyone else is pure. Becky Romano, one of the 10 girls in the show, is a master contriver herself, and the other girls who are chosen shed previous lovers and ideals without hesitation, ready to marry the blind man if they "win."

But the film deals with the important ethical issues about power, truth, and fidelity with a sharp and entertaining satire. As most successful commercial television, No Exit attracts as it repels, with its beautiful, sexy women, melodramatic twists of the plot, self-centered yet larger than life characters, and grand gestures. As it condemns voyeurism, it makes us all into voyeurs, pulling us into a guilty enjoyment of the spectacle even as we condemn the shenanigans of amoral individuals. Sabo, however, is always in control of his material. His framing visually emphasizes the theme with rectangular and multiple screens, windows, and openings, reminding us constantly that we are watching a film. Although he gives Zachy, the grand stage manager, a successful end to his show, Sabo clearly condemns the manipulative industry and the society that allows itself to be suckered by it. And if there is an exit in this hell of corrupt people, he sits at the gateway to the lot---Michal, the only Orthodox character in the film whose digital recordings see and hear all and whose purity actually makes some of the character aware of their shortcomings.

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