Hanna Maron

In spite of blood ties to both Haifa's Jewish and Arab populations, Moshe (Moshe Ivgy) leads a rootless existence. Grown weary of his impatient wife Didi (Keren Mor) and ambivalent about his needy young mistress Grisha (Natali Atiya), the only relationships Moshe doesn't complicate are with his devoted parents, Jewish Hanna (Meron) and Arab Yussuf, and with Jules (Juliano Mer), 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.

A story of an army colonel who is fighting the accusations in committing war crime but his only witness is comatose in the hospital.

Clara, a polish born Jew, living in Tel Aviv of the 1970's, has her ideas about how people should behave, and runs everybody's life accordingly: her husband, her sisters, their husbands, their children, her brother who lives in London (probably because it was the only way to get away from her...). Whenever something "improper" does happen, Clara's way of handling it is simply to shove it under the carpet and ignore it completely, as if it never happened. 3 basic rules, are, of course: 1. Never marry some one "under" your class (Or the class you think you are). 2. Never become pregnant out of wedlock and 3. No Abortions. As one may expect, everything crumbles when her niece gives her no option, but to break at least one of those rules

Autumn 1996. Avner, a highly-regarded Professor of Arts and his young wife, Ilana, come to visit the family farm run by Rachel and Shouki, (his children from a first marriage) and Menahem (the brother of his deceased first wife). Avner is in pain and needs a doctor. Rachel calls up Joel a physician and a friend of the family. Joel and Ilana are having a secret relationship that began during a previous visit to the farm. Menahem is in love with Ilana and Rachel with Joel. They are unaware of the love affair between Ilana and Joel. Avner came this time to the farm with a proposition to sell the farm. This brings all the latent conflicts in the family to break loose. The movie, inspired by Tchekovs "Oncle Vania", is above all an Israeli story. It depicts the weariness, the frustrations and pain of large segments of Israeli society, their love to the land and to one another, their dreams and their hope.

The film intertwines historical events and intimate memories. I observe how architecture represents the transformations of society and those who give form to this architecture. We follow the journey of Munio, my father, born in 1909 in Silesia, Poland, the son of a tenant farmer of a Prussian junker. At the age of 18, Munio goes to Berlin and Dessau to meet Walter Gropius, Kandinsky and Paul Klee at the Bauhaus. In 1933, the Bauhaus was closed by the Nazis, who accused Munio of treason against the German people. Munio was imprisoned, then deported to Basel. He left for Palestine. Upon his arrival in Haifa, he began a career as an architect and adapted European modernist principles to the Middle East.

Boaz, a reserve soldier returns from the battlefield and becomes involved in editing a memorial album dedicated to a friend who was killed before his eyes. He becomes increasingly involved in the lucrative business of producing memorabilia of this kind and does not hesitate exploiting the grief feelings of the survivors and symbolically becomes a "vulture," even in his romance with the dead hero's girlfriend.

Yaky Yosha's 1982 Israeli drama Kvish Lelo Motza (aka Dead End Street) observes the trials and travails of a young prostitute named Alice (Anat Atzmon) who is thrust into jail alongside her pimp and hustler boyfriend. In desperation, Alice devises a scheme to save both of them: she will take the steps necessary to free herself, then set about raising the money to save her beau. However, she fails to anticipate the arrival of a documentary crew comprised of husband and wife Yoram (Yehoram Gaon) and Miri (Gila Almagor), who insist on filming her as she undergoes rehabilitation; when Yoram begins to fall hard for Alice, it draws the ire and chagrin of Miri, who begins to seethe with jealousy.