More than 250 of Israel’s top filmmakers have signed an open letter, saying they will not seek funding from, nor cooperate with the recently–established Shomron (Samaria/West Bank) Film Fund, following the fund’s inaugural film festival in the occupied West Bank.
The filmmakers call on the Israeli Academy of Film and Television not to partake in “whitewashing the Occupation” ahead of the Ophir Awards — Israel’s Academy Awards — later this month. Read the full text of the letter below.
Among the signatories are multiple Academy Award winners and nominees. They have signed a public letter in which they state that they will not receive grants and will not participate in “lectura” (selection of films for development and production) or in professional events held by the Shomron (Samaria) Film Fund. The goal of the Shomron (Samaria) Film Fund, write the filmmakers, is “to invite Israeli filmmakers to actively participate...
The filmmakers call on the Israeli Academy of Film and Television not to partake in “whitewashing the Occupation” ahead of the Ophir Awards — Israel’s Academy Awards — later this month. Read the full text of the letter below.
Among the signatories are multiple Academy Award winners and nominees. They have signed a public letter in which they state that they will not receive grants and will not participate in “lectura” (selection of films for development and production) or in professional events held by the Shomron (Samaria) Film Fund. The goal of the Shomron (Samaria) Film Fund, write the filmmakers, is “to invite Israeli filmmakers to actively participate...
- 9/3/2022
- by Caroline Frost
- Deadline Film + TV
M-Appeal has acquired world sales rights to Michal Vinik’s “Valeria Is Getting Married,” which focuses on two Ukrainian sisters, one already living in Israel, having entered a marriage arranged online, and the another considering doing the same.
The film marks the second collaboration between the German sales outfit and the Tel Aviv-based director, following her debut feature film “Barash.” It is the third time M-Appeal has teamed with Israeli production company Lama Films, following their partnership on “Barash” and “Working Woman.”
Maren Kroymann, M-Appeal’s managing director, said: “We are very excited to continue our collaboration with Michal, whose films are entertaining, accessible, and feminist in how they address important subjects. In ‘Valeria,’ she deconstructs widely spread preconceptions and prejudices about Ukrainian women, which have become much more visible now as so many women are fleeing the war.”
Set over the course of one day, the film focuses on...
The film marks the second collaboration between the German sales outfit and the Tel Aviv-based director, following her debut feature film “Barash.” It is the third time M-Appeal has teamed with Israeli production company Lama Films, following their partnership on “Barash” and “Working Woman.”
Maren Kroymann, M-Appeal’s managing director, said: “We are very excited to continue our collaboration with Michal, whose films are entertaining, accessible, and feminist in how they address important subjects. In ‘Valeria,’ she deconstructs widely spread preconceptions and prejudices about Ukrainian women, which have become much more visible now as so many women are fleeing the war.”
Set over the course of one day, the film focuses on...
- 7/12/2022
- by Leo Barraclough
- Variety Film + TV
Six years in the making, the title had been rejected by all Israeli film funds because of its subject matter.
In its annual ceremony last night, the Israeli Film Academy selected Yaron Zilberman’s Incitement as best picture; it will, therefore, be Israel’s candidate for best international feature at the 2020 Oscars.
The film, which premiered at the Toronto Film Festival, depicts the infamous 1995 assassination of Premier Itzhak Rabin, presented through the worldview of his assassin.
Six years in the making, the title had been rejected by all Israeli film funds because of its subject matter and was finally brought...
In its annual ceremony last night, the Israeli Film Academy selected Yaron Zilberman’s Incitement as best picture; it will, therefore, be Israel’s candidate for best international feature at the 2020 Oscars.
The film, which premiered at the Toronto Film Festival, depicts the infamous 1995 assassination of Premier Itzhak Rabin, presented through the worldview of his assassin.
Six years in the making, the title had been rejected by all Israeli film funds because of its subject matter and was finally brought...
- 9/23/2019
- by Edna Fainaru
- ScreenDaily
A Jerusalem woman’s business career is ruined by her boss’ aggressive sexual behavior in this powerful Israeli drama.
The person who believes there’s never any excuse for putting up with the boss’s sexual harassment has probably never experienced any, let alone risked losing a position or needed salary if they complain.
Most women — and people in general — don’t have any choice but to put up with “a certain amount” of crap to get ahead at all and often is a real career advancement choice.
That’s the fix the heroine of Working Woman finds herself in: She’s wedged between the need for a job that greatly improves her young family’s prospects and the increasingly discomfiting behavior of her superior.
This second narrative feature by Israeli documentarian Michal Aviad is a strong drama that eschews melodramatic contrivance, making its points via cool (yet sometimes squirm-inducing) observation.
The person who believes there’s never any excuse for putting up with the boss’s sexual harassment has probably never experienced any, let alone risked losing a position or needed salary if they complain.
Most women — and people in general — don’t have any choice but to put up with “a certain amount” of crap to get ahead at all and often is a real career advancement choice.
That’s the fix the heroine of Working Woman finds herself in: She’s wedged between the need for a job that greatly improves her young family’s prospects and the increasingly discomfiting behavior of her superior.
This second narrative feature by Israeli documentarian Michal Aviad is a strong drama that eschews melodramatic contrivance, making its points via cool (yet sometimes squirm-inducing) observation.
- 4/16/2019
- by Sydney Levine
- Sydney's Buzz
Key territories sold for agent M-Appeal.
Hella Joof’s Happy Ending, the Danish comedy described as the ‘Nordic Best Exotic Marigold Hotel’, has racked up further territory deals following its local release in Denmark and Norway.
German sales outfit M-Appeal has licensed the film to Palace Films for Australia, Camino Film for Germany and Austria, and Ads Service for Hungary. HBO Europe has bought pay-tv rights for 14 countries in Central, Eastern and South Eastern Europe.
The film follows a woman who has been waiting for her workaholic husband to retire so they can enjoy the autumn of their lives together travelling the world.
Hella Joof’s Happy Ending, the Danish comedy described as the ‘Nordic Best Exotic Marigold Hotel’, has racked up further territory deals following its local release in Denmark and Norway.
German sales outfit M-Appeal has licensed the film to Palace Films for Australia, Camino Film for Germany and Austria, and Ads Service for Hungary. HBO Europe has bought pay-tv rights for 14 countries in Central, Eastern and South Eastern Europe.
The film follows a woman who has been waiting for her workaholic husband to retire so they can enjoy the autumn of their lives together travelling the world.
- 4/8/2019
- by Geoffrey Macnab
- ScreenDaily
Key territories sold for agent M-Appeal.
Hella Joof’s Happy Ending, the Danish comedy described as the ‘Nordic Best Exotic Marigold Hotel’, has racked up further territory deals following its local release in Denmark and Norway.
German sales outfit M-Appeal has licensed the film to Palace Films for Australia, Camino Film for Germany and Austria, and Ads Service for Hungary. HBO Europe has bought pay-tv rights for 14 countries in Central, Eastern and South Eastern Europe.
The film follows a woman who has been waiting for her workaholic husband to retire so they can enjoy the autumn of their lives together travelling the world.
Hella Joof’s Happy Ending, the Danish comedy described as the ‘Nordic Best Exotic Marigold Hotel’, has racked up further territory deals following its local release in Denmark and Norway.
German sales outfit M-Appeal has licensed the film to Palace Films for Australia, Camino Film for Germany and Austria, and Ads Service for Hungary. HBO Europe has bought pay-tv rights for 14 countries in Central, Eastern and South Eastern Europe.
The film follows a woman who has been waiting for her workaholic husband to retire so they can enjoy the autumn of their lives together travelling the world.
- 4/8/2019
- by Geoffrey Macnab
- ScreenDaily
Michal Aviad on Glenn Close and Michael Douglas in Adrian Lyne's Fatal Attraction and Demi Moore and Douglas in Barry Levinson's Disclosure: "Before writing and while writing and researching I looked for films that deal with sexual harassment." Photo: Anne-Katrin Titze
Michal Aviad's Working Woman, co-written with Sharon Azulay Eyal and Michal Vinik, shot by Daniel Miller, stars Liron Ben-Shlush (Asaf Korman's Next to Her), Menashe Noy (Ronit Elkabetz and Shlomi Elkabetz' Gett: The Trial of Viviane Amsalem), and Oshri Cohen with Irit Sheleg (Rama Burshtein's Fill The Void), and is produced by Amir Harel (Eytan Fox's Walk On Water which starred Lior Ashkenazi) and Ayelet Kait.
Michal Aviad on Liron Ben-Shlush as Orna in Working Woman: "I want to know how does it feel to be inside the female protagonist and try to look at it from her point of view.
Michal Aviad's Working Woman, co-written with Sharon Azulay Eyal and Michal Vinik, shot by Daniel Miller, stars Liron Ben-Shlush (Asaf Korman's Next to Her), Menashe Noy (Ronit Elkabetz and Shlomi Elkabetz' Gett: The Trial of Viviane Amsalem), and Oshri Cohen with Irit Sheleg (Rama Burshtein's Fill The Void), and is produced by Amir Harel (Eytan Fox's Walk On Water which starred Lior Ashkenazi) and Ayelet Kait.
Michal Aviad on Liron Ben-Shlush as Orna in Working Woman: "I want to know how does it feel to be inside the female protagonist and try to look at it from her point of view.
- 4/2/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Agnès Varda at her 2017 Blum & Poe exhibition in New York Photo: Anne-Katrin Titze
When I arrived at the Washington Square Hotel on Waverly Place in the Village for my conversation with Michal Aviad, the director of Working Woman, it was the day after the passing of Agnès Varda on Friday, March 29. I had contacted Agnès for a tribute honouring Michel Legrand, who died just two months earlier, and she immediately responded with her memories of him with Jacques Demy and sent personal photos from the set of Demoiselles De Rochefort with Catherine Deneuve.
We discussed Faces Places (Visages Villages), Vagabond, Le Lion Volatil, Varda Par Agnès, and why Les Glaneurs Et La Glaneuse (The Gleaners And I) is Michal's favourite.
Michal Aviad on the difference between Agnès Varda and Jean-Luc Godard: "You see what a lively, alive person she is. And what kind of an old grump - sorry to say - he is.
When I arrived at the Washington Square Hotel on Waverly Place in the Village for my conversation with Michal Aviad, the director of Working Woman, it was the day after the passing of Agnès Varda on Friday, March 29. I had contacted Agnès for a tribute honouring Michel Legrand, who died just two months earlier, and she immediately responded with her memories of him with Jacques Demy and sent personal photos from the set of Demoiselles De Rochefort with Catherine Deneuve.
We discussed Faces Places (Visages Villages), Vagabond, Le Lion Volatil, Varda Par Agnès, and why Les Glaneurs Et La Glaneuse (The Gleaners And I) is Michal's favourite.
Michal Aviad on the difference between Agnès Varda and Jean-Luc Godard: "You see what a lively, alive person she is. And what kind of an old grump - sorry to say - he is.
- 3/31/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Now playing in New York City at the IFC Center, Marlene Meyerson Jcc of Manhattan, Working Woman is a timely and powerful "fictional account [that] left me shaken and disturbed," as I wrote in my review. It revolves around Orna (Liron Ben-Shlush), a strong woman who has been supporting her husband Ofer (Oshri Cohen) and their three children. She returns to the workforce and quickly becomes a valuable asset to real estate developer Benny (Menashe Noy), but almost as quickly finds herself dealing with sexual harassment by her powerful boss. Director Michal Aviad (pictured) was kind enough to answer a few questions about Working Woman: This is a completely absorbing film that feels like it was ripped out of someone's soul. How did you balance...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 3/27/2019
- Screen Anarchy
Israeli director Michal Aviad was inspired to make “Working Woman” after watching a range of films about sexual harassment in the workplace. Much to her surprise — and dismay — she discovered that most of them dismissed, demeaned, or even demonized the victims.
Aviad’s thoughtful response is a film that feels very contemporary, but will also resonate with generations of viewers who recognize the many small moments that lead up to and follow its quietly wrenching central experience.
The film opens as a smiling Orna (Liron Ben Shlush) leaves her first job interview in years. She’s the harried mother of three children, and her husband, Ofer (Oshri Cohen), has recently opened a small and still-struggling restaurant in Tel Aviv. Ofer is skeptical of the time his newly-employed wife will be spending away from home, but she’s approaching her return to the workplace with a mixture of practicality and excitement.
Aviad’s thoughtful response is a film that feels very contemporary, but will also resonate with generations of viewers who recognize the many small moments that lead up to and follow its quietly wrenching central experience.
The film opens as a smiling Orna (Liron Ben Shlush) leaves her first job interview in years. She’s the harried mother of three children, and her husband, Ofer (Oshri Cohen), has recently opened a small and still-struggling restaurant in Tel Aviv. Ofer is skeptical of the time his newly-employed wife will be spending away from home, but she’s approaching her return to the workplace with a mixture of practicality and excitement.
- 3/26/2019
- by Elizabeth Weitzman
- The Wrap
Working Woman (Isha Ovedet) Zeitgeist Films Reviewed for Shockya.com & BigAppleReviews.net by: Harvey Karten Director: Michal Aviad Screenwriter: Sharon Azulay Eyal, Michal Vinik, Michal Aviad Cast: Liron Ben Shlush, Menashe Noy, Oshri Cohen Screened at: Critics’ link, NYC, 2/16/19 Opens: March 27, 2019 It should not be difficult to discourage men who harass women (or […]
The post Working Woman Movie Review appeared first on Shockya.com.
The post Working Woman Movie Review appeared first on Shockya.com.
- 3/24/2019
- by Harvey Karten
- ShockYa
Berlin-based M-Appeal has closed a flurry of deals across its slate, including Ash Mayfair’s “The Third Wife” and Michal Aviad’s “Working Woman,” which were launched at Toronto.
“The Third Wife” sold to Potential Films for Australia/New Zealand and Crest International for Japan. Potential Films is planning a theatrical release next summer, while Crest International plans a rollout next fall.
The movie, which had its world premiere in Toronto’s Discovery section, is set in 19th-century rural Vietnam and follows 14-year-old May, who becomes the third wife of wealthy landowner Hung. May soon learns that she can only gain status by asserting herself as a woman who can give birth to a male child.
M-Appeal previously sold “The Third Wife” to North America, the U.K., Ireland, Taiwan, Singapore, Mexico, South Korea, Hong Kong and Spain.
“I was truly impressed by the beauty of the picture, by its authenticity and,...
“The Third Wife” sold to Potential Films for Australia/New Zealand and Crest International for Japan. Potential Films is planning a theatrical release next summer, while Crest International plans a rollout next fall.
The movie, which had its world premiere in Toronto’s Discovery section, is set in 19th-century rural Vietnam and follows 14-year-old May, who becomes the third wife of wealthy landowner Hung. May soon learns that she can only gain status by asserting herself as a woman who can give birth to a male child.
M-Appeal previously sold “The Third Wife” to North America, the U.K., Ireland, Taiwan, Singapore, Mexico, South Korea, Hong Kong and Spain.
“I was truly impressed by the beauty of the picture, by its authenticity and,...
- 12/20/2018
- by Elsa Keslassy
- Variety Film + TV
France, Benelux swoop on Working Woman, while The Third Wife goes to UK/Ireland, Hong Kong and Singapore.
Berlin-based sales outfit M-Appeal is continuing to rack up sales on two titles that are screening here in Busan – Israeli filmmaker Michal Aviad’s Working Woman, which is playing in Flash Forward, and Ash Mayfair’s debut feature, The Third Wife, screening in A Window On Asian Cinema.
Working Woman, which tells the story of a working mother having to cope with an abusive new boss, has been sold to France (Kmbo) and Benelux (Arti). Warmly received at Toronto International Film Festival following its premiere in Jerusalem,...
Berlin-based sales outfit M-Appeal is continuing to rack up sales on two titles that are screening here in Busan – Israeli filmmaker Michal Aviad’s Working Woman, which is playing in Flash Forward, and Ash Mayfair’s debut feature, The Third Wife, screening in A Window On Asian Cinema.
Working Woman, which tells the story of a working mother having to cope with an abusive new boss, has been sold to France (Kmbo) and Benelux (Arti). Warmly received at Toronto International Film Festival following its premiere in Jerusalem,...
- 10/6/2018
- by Geoffrey Macnab
- ScreenDaily
A typical skeptic’s response to the #MeToo movement has been “Well, why didn’t she just get another job? Why would anyone keep working with a boss who behaves inappropriately?” This argument tends to overlook the fact that many women — and people in general — don’t have infinite employment options, bridge-burning may be seriously detrimental to their careers and many have to put up with “a certain amount” of crap to get ahead at all. The person who believes there’s never any excuse for putting up with harassment has probably never experienced any, let alone risked losing an advantageous position or salary if they complain.
That’s the fix the heroine of “Working Woman” finds herself in: She’s wedged between need for a job that greatly improves her young family’s prospects and the increasingly discomfiting behavior of her superior. This second narrative feature by Israeli documentarian...
That’s the fix the heroine of “Working Woman” finds herself in: She’s wedged between need for a job that greatly improves her young family’s prospects and the increasingly discomfiting behavior of her superior. This second narrative feature by Israeli documentarian...
- 10/4/2018
- by Dennis Harvey
- Variety Film + TV
Aäläm-Wärqe Davidian’s The Fig Tree won the Audentia Award for best film by a female director at the Toronto International Film Festival, taking home a 30,000 Euro grant. The Fig Tree produced by Naomi Levari and Saar Yogev from Black Sheep Film Productions is Davidian’s feature debut. It defeated 12 other films and also debuted at the festival as part of the Discovery Section.
Davidian, who immigrated to Israel from Ethiopia at the age of 11, filmed the movie in her hometown, Addis Ababa, in Amharic, with a team of local actors. It takes place at the end of the 1980s and the early 1990s and tells of Mina, a young woman who is friends with Ali and meets with him under the fig tree.
Israeli director Guy Nattiv won the Fipresci Jury Award for Special Presentations for his first American film called Skin. Nattiv’s film, who lives in the U.
Davidian, who immigrated to Israel from Ethiopia at the age of 11, filmed the movie in her hometown, Addis Ababa, in Amharic, with a team of local actors. It takes place at the end of the 1980s and the early 1990s and tells of Mina, a young woman who is friends with Ali and meets with him under the fig tree.
Israeli director Guy Nattiv won the Fipresci Jury Award for Special Presentations for his first American film called Skin. Nattiv’s film, who lives in the U.
- 9/17/2018
- by Sydney Levine
- Sydney's Buzz
m-appeal handles international sales.
Zeitgeist Films in association with Kino Lorber has acquired all North American rights to Israel director Michal Aviad’s timely Contemporary World Cinema selection Working Woman ahead of its anticipated international premiere in Toronto.
m-appeal handles international sales on the drama about Orna, an industrious, talented and ambitious woman who faces sexual harassment in the workplace.
Promoted by a boss who makes inappropriate advances, and married to a struggling restaurateur, Orna becomes the breadwinner for their three children and must find the strength to fight for her self-worth.
Working Woman screens to press and industry on...
Zeitgeist Films in association with Kino Lorber has acquired all North American rights to Israel director Michal Aviad’s timely Contemporary World Cinema selection Working Woman ahead of its anticipated international premiere in Toronto.
m-appeal handles international sales on the drama about Orna, an industrious, talented and ambitious woman who faces sexual harassment in the workplace.
Promoted by a boss who makes inappropriate advances, and married to a struggling restaurateur, Orna becomes the breadwinner for their three children and must find the strength to fight for her self-worth.
Working Woman screens to press and industry on...
- 9/6/2018
- by Jeremy Kay
- ScreenDaily
Zeitgeist Films in association with Kino Lorber has acquired all North American rights to Israeli director Michal Aviad’s drama “Working Woman.”
The movie will have its international premiere at the Toronto International Film Festival in the Contemporary World Cinema section. A spring release is anticipated.
“Working Woman” is set in Jerusalem and centers around a hardworking, talented and ambitious woman named Orna who faces increasing sexual harassment at work, which soon affects her entire life. Her boss appreciates and promotes her, while making inappropriate advances. Her husband struggles to keep his new restaurant afloat and Orna becomes the main breadwinner for their three children.
“I wanted to closely examine the convoluted, often gray area of routine sexual harassment in the workplace,” said Aviad. “I hope that viewers, women and men, will come out of the film with a deeper understanding of how and why sexual harassment continues to be...
The movie will have its international premiere at the Toronto International Film Festival in the Contemporary World Cinema section. A spring release is anticipated.
“Working Woman” is set in Jerusalem and centers around a hardworking, talented and ambitious woman named Orna who faces increasing sexual harassment at work, which soon affects her entire life. Her boss appreciates and promotes her, while making inappropriate advances. Her husband struggles to keep his new restaurant afloat and Orna becomes the main breadwinner for their three children.
“I wanted to closely examine the convoluted, often gray area of routine sexual harassment in the workplace,” said Aviad. “I hope that viewers, women and men, will come out of the film with a deeper understanding of how and why sexual harassment continues to be...
- 9/6/2018
- by Dave McNary
- Variety Film + TV
Zeitgeist Films in association with Kino Lorber has acquired all North American rights to Israel director Michal Aviad’s timely Contemporary World Cinema selection Working Woman ahead of its anticipated international premiere in Toronto.
m-appeal handles international sales on the drama, which premiered at Jerusalem Film Festival and centres on Orna, an industrious, talented and ambitious woman who faces sexual harassment in the workplace.
Promoted by a boss who makes inappropriate advances, and married to a struggling restaurateur, Orna becomes the breadwinner for their three children and must find the strength to fight for her self-worth.
m-appeal handles international sales on the drama, which premiered at Jerusalem Film Festival and centres on Orna, an industrious, talented and ambitious woman who faces sexual harassment in the workplace.
Promoted by a boss who makes inappropriate advances, and married to a struggling restaurateur, Orna becomes the breadwinner for their three children and must find the strength to fight for her self-worth.
- 9/5/2018
- by Jeremy Kay
- ScreenDaily
It’s that time of year again: Film Festival Season. With the Venice Film Festival underway, that means that Tiff (the Toronto International Film Festival) is right around the corner.
Berlin-based sale company M-Appeal, which focuses on original international arthouse and genre cinema, will be hitting Tiff with a pair of female-driven films Michal Aviad‘s “Working Woman” and Ash Mayfair’s feature directorial debut “The Third Wife,” and we have an exclusive first look at the latter.
Continue reading ‘The Third Wife’ Exclusive Trailer: Here’s Your First Look At The Coming-Of-Age Tale And Tiff Selection at The Playlist.
Berlin-based sale company M-Appeal, which focuses on original international arthouse and genre cinema, will be hitting Tiff with a pair of female-driven films Michal Aviad‘s “Working Woman” and Ash Mayfair’s feature directorial debut “The Third Wife,” and we have an exclusive first look at the latter.
Continue reading ‘The Third Wife’ Exclusive Trailer: Here’s Your First Look At The Coming-Of-Age Tale And Tiff Selection at The Playlist.
- 8/30/2018
- by Jamie Rogers
- The Playlist
Berlin-based M-Appeal will be hitting Toronto with a pair of topical female-driven films premiering at the festival, Ash Mayfair’s “The Third Wife” and Michal Aviad’s “Working Woman.”
Dedicated to promoting new female voices in the festival circuit and around the world, M-Appeal is also repping Hella Joof’s “Happy Ending” and Albertia Carri’s “The Daughters of Fire,” and is continuing sales on Fanny Metlelius’s Swedish coming-of-age romance drama “The Heart.”
“Our experience shows that there are many exciting films out there made by women, telling stories that appeal to a largely female audience eager to see films reflecting their own realities which are not visible enough,” said
Maren Kroymann, managing director of M-Appeal.
Kroymann pointed M-Appeal’s current slate “comprises 5 titles directed by very promising female filmmakers, some of whom are already established but others who are emerging talents.” “The audience is ready for stories told from a female perspective,...
Dedicated to promoting new female voices in the festival circuit and around the world, M-Appeal is also repping Hella Joof’s “Happy Ending” and Albertia Carri’s “The Daughters of Fire,” and is continuing sales on Fanny Metlelius’s Swedish coming-of-age romance drama “The Heart.”
“Our experience shows that there are many exciting films out there made by women, telling stories that appeal to a largely female audience eager to see films reflecting their own realities which are not visible enough,” said
Maren Kroymann, managing director of M-Appeal.
Kroymann pointed M-Appeal’s current slate “comprises 5 titles directed by very promising female filmmakers, some of whom are already established but others who are emerging talents.” “The audience is ready for stories told from a female perspective,...
- 8/27/2018
- by Elsa Keslassy
- Variety Film + TV
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
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"For My Children"
A film by Michal Aviad
Israel, 2002, 65 minutes
In October 2000, as the second Palestinian Intifada erupts, Israeli filmmaker Michal Aviad begins a video exploration about both the moral and mundane dilemmas she faces every day in Tel Aviv. What begins with deceptive simplicity-a tender scene of sending the children off to school-quickly becomes a profound study of vulnerability and anxiety. Small acts like crossing the street are charged with inescapable fear. As the nightmare of violence escalates over the coming months, Michal and her husband Shimshon ask the quintessential Diaspora Jewish question, "When is it time to go?" The question reverberates through a stream of images-public and private, home video and historic archival footage-as her parents and extended family recount their own journeys to Israel from Europe, escaping death and the Holocaust, and from America, out of ideological commitment to Israel. Their stories are told with vivid, beautiful detail-at a bucolic family picnic, during a vacation on the California coast-and with a degree of candor and intimacy rarely seen in Israeli cinema. "I don't want to be an immigrant," says Shimshon, a political activist whose profound feelings about displacement and exile are interwoven with TV images of war, children asleep in their beds, grandma making pasta and the sounds of sirens. Tanks roll over the hills as tea is being made in the kitchen in a cosmic seesaw between blissful domesticity and the nightmare of public life, in this deeply moving and riveting video essay.
"Leila Khaled: Hijacker" A film by Lina Makboul
Sweden/Jordan, 2005, 58 minutes
In 1969 Palestinian Leila Khaled made history by becoming the first woman to hijack an airplane. As a Palestinian child growing up in Sweden, filmmaker Lina Makboul admired Khaled for her bold actions; as an adult, she began asking complex questions about the legacy created by her childhood hero. This fascinating documentary is at once a portrait of Khaled, an exploration of the filmmaker’s own understanding of her Palestinian identity, and a complicated examination of the nebulous dichotomy between "terrorist" and "freedom fighter."
When Makboul tracks Khaled down, she finds Khaled living an ordinary life in Jordan, still firm in her belief that her actions were necessary and fully justified. The film weaves together scenes with Khaled, archival footage, and interviews with the people who were on the planes Khaled hijacked. Makboul searches for a way to reconcile her understanding of the Palestinian national narrative - which now includes Khaled’s actions - with the negative image she encounters from the rest of the world of Palestinians as bloodthirsty terrorists. At the same time, she comes to know Khaled for the very real person that she is as they talk, travel together, and share meals. The result is a multi-dimensional film unlike any other in its skillful handling of the complexities that arise when liberation movements incorporate violence as a tactic.
"My Israel – Revisiting the Trilogy" A film by Yulie Cohen
Israel, 2008, 78 minutes
Few filmmakers have probed issues of Israeli nationalism and Israeli-Palestinian relations more completely or intimately than Tel Aviv-born Yulie Cohen. In My Israel, Cohen revisits her acclaimed trilogy "My Terrorist" (2002), "My Land Zion" (2004), and "My Brother" (2007) with new footage, fresh perspective, and her trademark fearlessness.
For Cohen, Israel is the land of her ancestors, the land her parents fought for during the 1948 war and the land she herself served as an Air Force Officer during the Entebbe crisis. In 1978, working as an El Al stewardess, she survived a terrorist attack in London that killed a colleague and left her with shrapnel in her arm.
Embarking on a difficult and emotional journey, she attempts to free the surviving terrorist who attacked her, to question the myths of the state that she grew up in, and to reconcile with her ultra-orthodox brother after 25 years of estrangement. My Israel is an account of remarkable courage and understanding set against the last turbulent decade of Israeli history, successfully combining Cohen’s 10-year oeuvre in an incisive and refreshing new way.
"Rachel"
A film by Simone Bitton
France/Belgium, 2009, 100 minutes
"Rachel" is a startlingly rigorous, fascinating and deeply moving investigatory documentary that examines the death of peace activist and International Solidarity Movement (Ism) member Rachel Corrie, who was crushed by an Israeli army bulldozer in the Gaza Strip in 2003. A few weeks after her little-reported death, an inquiry by Israeli military police concluded that Corrie died in an accident. Simone Bitton (Wall), an award-winning documentary filmmaker who is a citizen of both France and Israel, has crafted a dispassionate but devastating essay investigating the circumstances of Rachel Corrie’s death—including astounding eyewitness testimony from activists, soldiers, Israeli Defense Force army spokespersons and physicians, as well as insights from Corrie’s parents, mentors and diaries.
In assembling a thorough and candid account of the event, using both visual and narrative evidence, Bitton’s quietly persistent questioning manages to accomplish what the inadequate legal proceedings and the overheated press coverage did not: an unflinching examination that refuses to exculpate or equivocate. By aligning her filmmaking methodology with the Ism’s guidelines to state only objective and concrete details without placing judgment, Bitton examines the circumstances surrounding the unresolved case of Corrie's death. The film begins like a classic documentary, but soon develops, transcending its subject and establishing a candid new visual approach for bearing witness. With understated cinematic techniques, Bitton captures the spirit of Rachel's youth, idealism, and political commitment amidst sweeping landscapes of Gaza and a portrait of daily life under ever-present military aggression.
"Ramleh" A film by Michal Aviad
Israel, 2001, 58 minutes
A timely and powerful look at the ideological, cultural and political conflicts in contemporary Israel, this highly original documentary profiles three seemingly disparate women residing in the town of Ramleh. Located in the heartland of the Israel, this former Palestinian territory serves as a microcosm of the beliefs, biases and conflicts of women living in the country today.
Profiled in this compelling documentary are Sima and Orly, two ultra-orthodox Jewish women who rediscover religion and enthusiastically support the conservative “Shas” party, the third largest political party in Israel; Svetlana, a single-mother and recent immigrant struggling to establish herself in her new country; and Gehad, a young Muslim teacher and law student attempting to find a sense of national identity in a predominately Jewish state. Filmed between the general elections in 1999 and the 2001 elections, Ramleh demonstrates the profound cultural and political divisions barring these women from living together as a united community, as well as reveals how their political landscape helped sow the seeds of the intifada in 2000. It similarly raises the question of whether each woman and the communities they represent will ever peacefully reconcile their search for tradition, religion and homeland.
"Egyptian Salad"
A film by Nadia Kamel
Egypt/Switzerland/France, 2008, 105 minutes
Award-winning Egyptian filmmaker Nadia Kamel’s heritage is a complex blend of religions and cultures. Her mother is a half-Jewish, half-Italian Christian who converted to Islam when she married Nadia’s half-Turkish, half-Ukrainian father. Prompted by the realization that her 10-year-old nephew Nabeel is growing up in an Egyptian society where talk of culture clashes is all too common, she urges her feminist, pacifist, activist mother, Mary Rosenthal, to share their diverse family history.
But, as she and Mary weave their way through the family’s multiethnic fairytales, they bump unexpectedly into the silence around old prejudices concerning the estranged Egyptian-Jewish branch of their family living in Israel since 1948. Bravely inspired to further challenge the boundaries between cultures, religions, and nationalities that are used to divide people, Kamel embarks on an amazing personal journey with her mother and nephew to Israel and Italy, confronting with an open heart, fears and prejudices along the way.
"Women in Struggle"
A film by Buthina Canaan Khoury
Palestine, 2004, 56 minutes
"Women in Struggle" presents rare testimony from four female Palestinian ex-detainees who disclose their experiences during their years of imprisonment in Israeli jails and the effect it has had on their present lives and future outlooks. Once content in their lives as sisters, wives and mothers, each of the women became active members for the national fight for Palestinian independence, but their “crimes” differed markedly–one woman was detained in a peaceful protest while another was arrested for her participation in a bombing.
Their painful recollections provide a fascinating personal perspective on their motives for political involvement, reveal their struggles in prison, and define the difficulties they have faced readjusting to life in Palestinian society. Though the women are now free, they continue to feel imprisoned by the current climate of the Intifada, by the “war on terror” and by the recently built “security” wall. With horrifying stories of torture suffered while in Israeli detention, the film brings to the forefront the hot-button issue of human rights abuses in prisons—and its particular implications for women prisoners. It also grapples with timely and difficult questions—what politicizes an individual? Are people born to fight, or do their circumstances force them to do so?
Presented without narration, "Women in Struggle" does not categorize its subjects as heroes or criminals, instead letting the women’s voices stand on their own to add another layer to the complex discourse on Israel.
At this moment in history, as we see the culmination of crises that worldwide society has created (I won’t name names or genders here), it is especially important that women’s voices be raised, heard and listened to by “the other half”.
In light of the recent military escalation and broken cease-fire negotiations in Israel and Palestine, Wmm is offering the titles in its Israeli-Palestinian Conflict: New Perspectives Collection because it is important that the perspectives often not covered in the mainstream media are heard. This powerful and poignant collection offers insight into women's lives in the region with honesty and humanity. Enter code ISRPALE14 at checkout to apply your discount on its Us$99 package offer.
"For My Children"
A film by Michal Aviad
Israel, 2002, 65 minutes
In October 2000, as the second Palestinian Intifada erupts, Israeli filmmaker Michal Aviad begins a video exploration about both the moral and mundane dilemmas she faces every day in Tel Aviv. What begins with deceptive simplicity-a tender scene of sending the children off to school-quickly becomes a profound study of vulnerability and anxiety. Small acts like crossing the street are charged with inescapable fear. As the nightmare of violence escalates over the coming months, Michal and her husband Shimshon ask the quintessential Diaspora Jewish question, "When is it time to go?" The question reverberates through a stream of images-public and private, home video and historic archival footage-as her parents and extended family recount their own journeys to Israel from Europe, escaping death and the Holocaust, and from America, out of ideological commitment to Israel. Their stories are told with vivid, beautiful detail-at a bucolic family picnic, during a vacation on the California coast-and with a degree of candor and intimacy rarely seen in Israeli cinema. "I don't want to be an immigrant," says Shimshon, a political activist whose profound feelings about displacement and exile are interwoven with TV images of war, children asleep in their beds, grandma making pasta and the sounds of sirens. Tanks roll over the hills as tea is being made in the kitchen in a cosmic seesaw between blissful domesticity and the nightmare of public life, in this deeply moving and riveting video essay.
"Leila Khaled: Hijacker" A film by Lina Makboul
Sweden/Jordan, 2005, 58 minutes
In 1969 Palestinian Leila Khaled made history by becoming the first woman to hijack an airplane. As a Palestinian child growing up in Sweden, filmmaker Lina Makboul admired Khaled for her bold actions; as an adult, she began asking complex questions about the legacy created by her childhood hero. This fascinating documentary is at once a portrait of Khaled, an exploration of the filmmaker’s own understanding of her Palestinian identity, and a complicated examination of the nebulous dichotomy between "terrorist" and "freedom fighter."
When Makboul tracks Khaled down, she finds Khaled living an ordinary life in Jordan, still firm in her belief that her actions were necessary and fully justified. The film weaves together scenes with Khaled, archival footage, and interviews with the people who were on the planes Khaled hijacked. Makboul searches for a way to reconcile her understanding of the Palestinian national narrative - which now includes Khaled’s actions - with the negative image she encounters from the rest of the world of Palestinians as bloodthirsty terrorists. At the same time, she comes to know Khaled for the very real person that she is as they talk, travel together, and share meals. The result is a multi-dimensional film unlike any other in its skillful handling of the complexities that arise when liberation movements incorporate violence as a tactic.
"My Israel – Revisiting the Trilogy" A film by Yulie Cohen
Israel, 2008, 78 minutes
Few filmmakers have probed issues of Israeli nationalism and Israeli-Palestinian relations more completely or intimately than Tel Aviv-born Yulie Cohen. In My Israel, Cohen revisits her acclaimed trilogy "My Terrorist" (2002), "My Land Zion" (2004), and "My Brother" (2007) with new footage, fresh perspective, and her trademark fearlessness.
For Cohen, Israel is the land of her ancestors, the land her parents fought for during the 1948 war and the land she herself served as an Air Force Officer during the Entebbe crisis. In 1978, working as an El Al stewardess, she survived a terrorist attack in London that killed a colleague and left her with shrapnel in her arm.
Embarking on a difficult and emotional journey, she attempts to free the surviving terrorist who attacked her, to question the myths of the state that she grew up in, and to reconcile with her ultra-orthodox brother after 25 years of estrangement. My Israel is an account of remarkable courage and understanding set against the last turbulent decade of Israeli history, successfully combining Cohen’s 10-year oeuvre in an incisive and refreshing new way.
"Rachel"
A film by Simone Bitton
France/Belgium, 2009, 100 minutes
"Rachel" is a startlingly rigorous, fascinating and deeply moving investigatory documentary that examines the death of peace activist and International Solidarity Movement (Ism) member Rachel Corrie, who was crushed by an Israeli army bulldozer in the Gaza Strip in 2003. A few weeks after her little-reported death, an inquiry by Israeli military police concluded that Corrie died in an accident. Simone Bitton (Wall), an award-winning documentary filmmaker who is a citizen of both France and Israel, has crafted a dispassionate but devastating essay investigating the circumstances of Rachel Corrie’s death—including astounding eyewitness testimony from activists, soldiers, Israeli Defense Force army spokespersons and physicians, as well as insights from Corrie’s parents, mentors and diaries.
In assembling a thorough and candid account of the event, using both visual and narrative evidence, Bitton’s quietly persistent questioning manages to accomplish what the inadequate legal proceedings and the overheated press coverage did not: an unflinching examination that refuses to exculpate or equivocate. By aligning her filmmaking methodology with the Ism’s guidelines to state only objective and concrete details without placing judgment, Bitton examines the circumstances surrounding the unresolved case of Corrie's death. The film begins like a classic documentary, but soon develops, transcending its subject and establishing a candid new visual approach for bearing witness. With understated cinematic techniques, Bitton captures the spirit of Rachel's youth, idealism, and political commitment amidst sweeping landscapes of Gaza and a portrait of daily life under ever-present military aggression.
"Ramleh" A film by Michal Aviad
Israel, 2001, 58 minutes
A timely and powerful look at the ideological, cultural and political conflicts in contemporary Israel, this highly original documentary profiles three seemingly disparate women residing in the town of Ramleh. Located in the heartland of the Israel, this former Palestinian territory serves as a microcosm of the beliefs, biases and conflicts of women living in the country today.
Profiled in this compelling documentary are Sima and Orly, two ultra-orthodox Jewish women who rediscover religion and enthusiastically support the conservative “Shas” party, the third largest political party in Israel; Svetlana, a single-mother and recent immigrant struggling to establish herself in her new country; and Gehad, a young Muslim teacher and law student attempting to find a sense of national identity in a predominately Jewish state. Filmed between the general elections in 1999 and the 2001 elections, Ramleh demonstrates the profound cultural and political divisions barring these women from living together as a united community, as well as reveals how their political landscape helped sow the seeds of the intifada in 2000. It similarly raises the question of whether each woman and the communities they represent will ever peacefully reconcile their search for tradition, religion and homeland.
"Egyptian Salad"
A film by Nadia Kamel
Egypt/Switzerland/France, 2008, 105 minutes
Award-winning Egyptian filmmaker Nadia Kamel’s heritage is a complex blend of religions and cultures. Her mother is a half-Jewish, half-Italian Christian who converted to Islam when she married Nadia’s half-Turkish, half-Ukrainian father. Prompted by the realization that her 10-year-old nephew Nabeel is growing up in an Egyptian society where talk of culture clashes is all too common, she urges her feminist, pacifist, activist mother, Mary Rosenthal, to share their diverse family history.
But, as she and Mary weave their way through the family’s multiethnic fairytales, they bump unexpectedly into the silence around old prejudices concerning the estranged Egyptian-Jewish branch of their family living in Israel since 1948. Bravely inspired to further challenge the boundaries between cultures, religions, and nationalities that are used to divide people, Kamel embarks on an amazing personal journey with her mother and nephew to Israel and Italy, confronting with an open heart, fears and prejudices along the way.
"Women in Struggle"
A film by Buthina Canaan Khoury
Palestine, 2004, 56 minutes
"Women in Struggle" presents rare testimony from four female Palestinian ex-detainees who disclose their experiences during their years of imprisonment in Israeli jails and the effect it has had on their present lives and future outlooks. Once content in their lives as sisters, wives and mothers, each of the women became active members for the national fight for Palestinian independence, but their “crimes” differed markedly–one woman was detained in a peaceful protest while another was arrested for her participation in a bombing.
Their painful recollections provide a fascinating personal perspective on their motives for political involvement, reveal their struggles in prison, and define the difficulties they have faced readjusting to life in Palestinian society. Though the women are now free, they continue to feel imprisoned by the current climate of the Intifada, by the “war on terror” and by the recently built “security” wall. With horrifying stories of torture suffered while in Israeli detention, the film brings to the forefront the hot-button issue of human rights abuses in prisons—and its particular implications for women prisoners. It also grapples with timely and difficult questions—what politicizes an individual? Are people born to fight, or do their circumstances force them to do so?
Presented without narration, "Women in Struggle" does not categorize its subjects as heroes or criminals, instead letting the women’s voices stand on their own to add another layer to the complex discourse on Israel.
- 7/22/2014
- by Sydney Levine
- Sydney's Buzz
Dariush Mehrjui
4th Bengaluru International Film Festival (Biffes) that will commence on December 15 will hold a special Retrospective of Iran’s Dariush Mehrjui, who is the guest of honour at the festival. The retrospective will include The Lodgers, Sara, The Pear Tree and The Music Man.
Biffes has announced a competition section for the first time and received about 40 entries. The films in competition include When We Leave by Feo Aladag, Invisible by Michal Aviad, Apartment in Athens by Ruggero Dipaola and Lucky by Avie Luthra among others.
There will be a Retrospective of Michael Cacoyannis of Greece featuring Our Last Spring, The Trojan Woman, Iphigenia, The Cherry Orchard and Sweet Country.
Theodoros Angelopoulos Retrospective comprises Landscape in the Mist, Eternity and a Day and The Weeping Meadow.
Taiwanese director Hsiao-hsien Hou’s Retrospective comprises Cafe Lumiere, Goodbye South Goodbye, Good Men Good Women, A Summer at Grandpa and Daughter of the Nile.
4th Bengaluru International Film Festival (Biffes) that will commence on December 15 will hold a special Retrospective of Iran’s Dariush Mehrjui, who is the guest of honour at the festival. The retrospective will include The Lodgers, Sara, The Pear Tree and The Music Man.
Biffes has announced a competition section for the first time and received about 40 entries. The films in competition include When We Leave by Feo Aladag, Invisible by Michal Aviad, Apartment in Athens by Ruggero Dipaola and Lucky by Avie Luthra among others.
There will be a Retrospective of Michael Cacoyannis of Greece featuring Our Last Spring, The Trojan Woman, Iphigenia, The Cherry Orchard and Sweet Country.
Theodoros Angelopoulos Retrospective comprises Landscape in the Mist, Eternity and a Day and The Weeping Meadow.
Taiwanese director Hsiao-hsien Hou’s Retrospective comprises Cafe Lumiere, Goodbye South Goodbye, Good Men Good Women, A Summer at Grandpa and Daughter of the Nile.
- 12/14/2011
- by NewsDesk
- DearCinema.com
Nader and Simin, a Separation and the other winners of the 2011 Berlin International Film Festival have been announced. The 61st Annual Berlin International Film Festival, often called the Berlinale, is “one of the world’s leading film festivals and most reputable media events.With 274,000 tickets sold and 487,000 admissions it is considered the largest publicly-attended film festival worldwide. Up to 400 films are shown in several sections, representing a comprehensive array of the cinematic world.” The full listing of the 2011 Berlin International Film Festival winners is below.
Golden Bear for Best Film
Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi
Silver Bear – The Jury Grand Prix
A torinói ló (The Turin Horse) by Béla Tarr
Silver Bear – Best Director
Ulrich Köhler for Schlafkrankheit (Sleeping Sickness)
Silver Bear – Best Actress
to the actress-ensemble in Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi
Silver Bear – Best...
Golden Bear for Best Film
Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi
Silver Bear – The Jury Grand Prix
A torinói ló (The Turin Horse) by Béla Tarr
Silver Bear – Best Director
Ulrich Köhler for Schlafkrankheit (Sleeping Sickness)
Silver Bear – Best Actress
to the actress-ensemble in Jodaeiye Nader az Simin (Nader And Simin, A Separation) by Asghar Farhadi
Silver Bear – Best...
- 2/20/2011
- by filmbook
- Film-Book
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