Bomba Tzur

Charles Hodgson is a British aristocrat who decides to become a thief as a way of getting at his twin brother, Earl, a security expert who has built a supposedly impregnable vault in Tel Aviv, which holds a cache of diamonds. For the caper, Charles enlists Archie, a heist expert, and Sally. He also becomes acquainted with an American woman, Zelda Shapiro, who is in Israel looking for a new husband.

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Bumbling private detective Schwartz and his equally inept part Simcha are hired by a man to find out if the man's wife is cheating on him with the family doctor. The blundering duo run afoul of mobsters and experience other mishaps during their investigation.

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A slapstick comedy lampooning bureaucracy and the madness of everyday life in Israel centers on an escaped lunatic who digs up the streets of Tel-Aviv with a drill.

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The story of a soccer team, respectable families, a corrupt night club owner, and a young lad to guide all to a happy ending.

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Audie plays a James Bond-type action hero assigned to destroy a Neo-Nazy weapons factory headed by nemesis George Sanders.

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A film about the clash between the patriarchal values of Jewish immigrants from North Africa and modern life.

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Robert Hirsch impresses as he takes on 11 different roles in Alex Joffé's comedy about the six sons of a recently deceased Jewish Casanova. To receive their inheritance, the sons must convene in Israel and recite a Kaddish (memorial prayer) for their dad. But planning the gathering is no easy feat. The film's title is based on the nonobservant son's futile attempts to contact his siblings on the one day when working is forbidden by Jewish law.

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A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas’ “Hallelujah the hills” (1962), it’s an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics – parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.

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