Avraham

Haim-Aaron是一个来自耶路撒冷的极端正统派的宗教学者，他的才华和虔诚受到所有人的嫉妒。一天晚上，为了进行自愿斋戒，他摔倒了并失去了知觉。护理人员宣称他死了，但他的父亲不愿让他离去，对他进行了复活。出乎意料的是Haim-Aaron活过来了。这场意外过后，这位学者对他的研究一直保持冷漠。他突然感到他的体内有一种奇怪的感觉苏醒了，他怀疑上帝在考验他。当他的父亲注意到他儿子举止的变化时，他尝试原谅他，但一直受到恐惧的折磨，害怕他让儿子复活违背了上帝的意愿。

姐姐克里斯蒂娜嫁到以色列，生活幸福。妹妹瓦莱里娅也在她的撮合之下来到以色列，与通过网络婚介认识的未婚夫见面。然而，在众人相处的短短一天内，这对姐妹开始质疑起各自的选择。

以色列秘密安全组织“辛贝特”(Shin Bet)的6位前领导人讲述了该国1967年之后的历史，包括那些公开的和不为人知的历史。如果你认为你理解中东，那么你必须看看这部纪录片，它会让你大开眼界。 　　辛贝特是以色列的国家安全机构，主要负责保卫国内首脑和外国来访政客的人身安全。他们的座右铭是“看不见的盾”，在任何时候他们的成员姓名都是保密的，只有领导人的名字会被披露出来。辛贝特是一个很成功的组织，有些人对他们颇有微词，包括他们刑讯逼供的不择手段，再有就是1995年他们没能阻止对当时总统拉宾的暗杀。 　　在以色列历史上，曾有过十三任的首领。而在过去三十年里，只有六个人有资格统领这个机构。此前，他们从未接受过任何采访，在导演德赫-莫雷赫的镜头前，他们第一次打开了话匣。“到底是什么让他们决定道出有关这个组织的秘密和运作方式？”从1980年任职的亚伯拉罕-沙洛姆，到20...

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.                                                                      A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and  "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality.                                                                      Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others.                                                                      The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.

Amos is a baker and aspiring illustrator; Noa is a rich and beautiful megastar. They are galaxies apart but sparks fly when their worlds collide in this hilarious, heart-warming Israeli drama.