The heartbreaking, mystifying and unbelievable stories of loved ones who have disappeared and the families that never give up hope. Some stories remain unresolved; some reveal tragic ... See full summary »
Christopher Crutchfield Walker,
Sara, a former hacker and now an Internet security specialist, has come to Belgrade to attend a conference on cyber crime. While she is there her daughter and a college friend are kidnapped... See full summary »
Emmett J Scanlan,
Harry Sands is a self made man, happily married with two children. When he learns that his daughter has gone missing in Istanbul, he flies out to find her. To Harry's horror, he discovers ... See full summary »
On the day he plans to propose to his girlfriend, Wes, a lowly shipping clerk, finds a fountain pen that cause objects to vanish. He embraces the strange phenomenon as a novelty, until it ... See full summary »
Titled in Hebrew, Hane'elam (The Disappeared), the original film was intended to address a contentious subject in Israeli society and one of the military's absolute taboos - the rising number of soldier suicides. The ambitious production was of a scope rarely seen in the local film industry at the time and included hundreds of soldier-extras, an entire armored brigade, military helicopters and special operations personnel. With an estimated budget of one million USD and a cast of leading Israeli actors and actresses, shooting commenced in multiple locations around the country, among them also a top-secret missile base. Soon after editing began and preparations for its commercial, nationwide distribution were underway, The Disappeared disappeared. The Disappeared conjures up the story of a film that was denied the right of appearance and left to languish in the limbo of censorship. As such, the film in and of itself is available only via the recollections of the individuals who took ...Written by
Gilad Baram & Adam Kaplan
THE DISAPPEARED is a black screen, like the lonely presence of a man who fades from our surroundigs . The experimental documentary by Gilad Balam and Adam Kaplan takes up the issue of a film filmed by the Israeli army in the late 1990s, made it with the intention of prevent young soldiers' suicides, and for some reason the army itself censured it and nobody, never, could see an one and only frame. The film is narrated in the present and in a great flashback, but (except during the reading of two scenes of the script, in which the screen is white, at the beginning and at the end) the no-image? never prevents reflection on art, politics and repression. Much less extreme than it seems, much more complex than its simplicity, witnessing it should be an indispensable action to unravel what is the scope of true cinema, that in a dark room you change your look to the world, perhaps forever.
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