Nataly Attiya

Izzy Bachar, a police internal affairs investigator, discovers just before retirement that his long time friend Barak, a senior police officer, is accused to be corrupt. Life as he knows it breaks into pieces.

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After Daniel travelled for a long period in Europe, he is coming back to his childhood home, in a small village in Israel. He wants to find Lilah, the woman of his life. Lilah, a former ballet teacher, has been paralyzed on her bed for three years. Daniel is going to commit something unbelievable out of love. The film deals with the conflict between religious tradition and the freedom to choose your fate.

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Lara is Palestinian and lives in London. She has everything she wants in her life: a husband, a son and a beautiful house in one of the best areas of the city. Nevertheless, her everyday life appears cold and grey, only brightened up by surreptitious sips of vodka. But one day, Inam, a sensual, resolute girl, knocks on her door. Lara seems to be transported back to her adolescence when she and Inam were close friends, and studied together in Ramallah. In Lara's astonished eyes we see a mixture of fear and desire towards the woman whom she had lost sight of. A deceptive tangle of memories which a trauma, a love affair and an experience with two Israeli soldiers in Jerusalem an re-surface. From a gripping, well structured emotional thriller that traces back their memories through recurrent flashbacks that take us to the West Bank in 1994, during the Intifada.

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Raveh does not only document the past, he documents a future that will never be, and the films that Amrani did not live to create. Researching Amrani's documents, Raveh found several short screenplays, and sought out three directors of Amrani's generation to bring them to life. The short films are interwoven throughout the documentary - "The Boat", directed by Nir Bergman, "Albert and Ronit", directed by Dover Kosashvili, and "Sabbath Eve", directed by Joseph Cedar. The warmth, intensity and drama of family life; issues of Persian ethnicity; tradition and the desire to break away from tradition; the competition and camaraderie of boys and men; the search for love; a persistent spiritual search and a love of the sea - all these are reflected in the brief yet intriguing vignettes, imbuing the film with a sense of Amrani's vision as a filmmaker and how his presence might have influenced the Israeli film scene.

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Two Israeli criminal families with Moroccan roots suffer the tragedies of their respective lives.

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Margalit is a simple girl from Ashdod, waiting tables in her father's restaurant, with a dream to make it big in the music industry. It all changes one night when the famous singer Dudu Ben-David performs in Margalit's hometown. He comes to Margalit's pub, discovers her and promises to make her a big star.

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“The Vanished” was a full-length feature film produced nearly twenty years ago by the IDF Spokesperson’s Film Unit. It was an exceptionally ambitious and elaborate production, with an estimated budget of around one million dollars. The IDF invested generous resources—hundreds of extras, tanks, helicopters, and more were made available—and some of Israel’s top film professionals joined (or were enlisted) to take part in its creation. Nevertheless, at the very last moment, the IDF decided to shelve the film. “The Vanished” was never publicly screened, and to this day, the reason for its suppression remains unclear.

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In spite of blood ties to both Haifa's Jewish and Arab populations, Moshe leads a rootless existence. Grown weary of his impatient wife Didi and ambivalent about his needy young mistress Grisha, the only relationships Moshe doesn't complicate are with his devoted parents, Jewish Hanna and Arab Yussuf, and with Jules, Moshe's ne'er-do-well childhood friend. But when Jules' real estate developer brother moves to buy a prized piece of property from the Arab side of the family, Moshe's divided ancestry is put to the test.

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Somewhat autobiographical, the film opens right after the 6 day war, when Israelis euphoric with victory and the kids dress up as the captured Western Wall in Jerusalem. Now it is 1972. The film centers on a young boy, who is failing in school, and grounded from going on Passover trips with his classmates. Instead he must visit private academies (including military school) with his parents, who want him to do better in school. Foreshadowing to the coming war in 1973 and the defeat of euphoria.

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